This track is a funky, jazzy, two-chord vamp with lots of time on each chord. The progression switches back and forth between Em9 and A13. The key is E minor and there are a lot of fun soloing and improvisational avenues to try. There is a lot of atmosphere in the track so be sure and leave lots of space in your soloing. Remember, nobody likes the person that talks too much.

What relates to all:

As soon as the key of E minor is established we know we can utilize E minor pentatonic & blues over both chords as it “relates to all”:

E Minor Pentatonic & Blues – E, G, A, Bb, B, D

We also know that when in minor key we can usually utilize Aeolian or Dorian over all the chords.

Remember our key point for minor key soloing – when playing over all the chords in minor key, what “relates to all”, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there is a major IV chord or a minor ii chord, in those cases use the Dorian Mode. For more on that read the “Minor Key Soloing” written lessons in the written lessons section of this series.

As we analyze the chords in this minor key jam we see a major IV chord, A13. That points us to utilize E Dorian over all the chords. Dorian is considered a minor mode and is always the 2nd mode in any major key. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6^th note:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. So to play E Dorian in this jam we have to ask what major scales 2^nd note is an E note. The answer is D. D major has the same notes as E Dorian:

E Dorian = E, F#, G, A, B, C#, D

D Major = D, E, F#, G, A, B, C#

(Same notes – just emphasize the root of the mode, E.)

So to rock out in the jam utilizing E Dorian just play D major scales but focus and emphasize the E notes. Keep going back to those E notes and resolve licks to them. This exudes the mood for the Dorian Mode.

Try mixing E Minor Pentatonic and E Dorian together for some killer head turning licks. Going between the five note Pentatonic scale and then switching to the seven note Dorian scale creates some awesome sounds. Explore with both and have fun!

You can also use three Minor Pentatonic keys when you know that Dorian works in a minor key jam. This is a real fun technique to try and it always works when you know that Dorian works. You can use the Minor Pentatonic scale off the root, in this case E Minor Pentatonic. Also utilize the Minor Pentatonic scale up a 2nd, which would be F# Minor Pentatonic, (E to F#, is up a second). Also utilize the Minor Pentatonic Scale up a 5th, which would be B Minor Pentatonic, (E to B is up a fifth). All three of those pentatonics produce the Dorian sound as they add those two extra notes to the minor pentatonic scale making it Dorian. Try all three pentatonics over both chords and see which sound best to your ears:

E Minor Pentatonic = E, G, A, B, D

F# Minor Pentatonic = F#, A, B, C#, E

B Minor Pentatonic = B, D, E, F#, A

E Dorian = E, F#, G, A, B, C#, D

(All the notes in the above three Pentatonics are in the Dorian Mode – NICE!)

Treat each chord as a separate event:

• Over the Em9 chord try E Minor Pentatonic & Blues, E Natural Minor, and E Dorian. Remember that Aeolian and Dorian sound great over minor chords.
• Over the A13 chord try A Major Pentatonic, A Mixolydian, and A dominant type arpeggios. Remember that Mixolydian sounds great over dominant chords.
• Also try some arpeggios over each chord. Mix E minor, B minor, F# minor, as well as D and A major.

This is a slower tempo jazzy two-chord progression. The track switches between a Cmaj7 chord and an Am7 chord. The key is C major so we are thinking major key, at least over the C major chord. Many of the previous jams are more rockers or minor key examples. So this offers up different soloing opportunities being in a major key.

What relates to all:

Since we are in a major key we can use C Major Pentatonic over both chords. Remember that when in major key you can usually solo overall the chords with Major Pentatonic:

C Major Pentatonic – C, D, E, G, A

Also try full C Major scales over both chords. This is a jam where major scales will sound quite good. Full major scales often sound great over slower or ballad type tracks that are very major sounding:

C Major – C, D, E, F, G, A, B

You have to use your discretion and listen to what sounds best to your ears. At times, full major scales can sound a bit stiff and sterile. However, in this jam you can use them to your advantage for killer licks. Try C major scales all over the neck and link them together. If you are not familiar with major scales or major scale links please see the written lessons in this series to see them all diagrammed out on paper – enjoy!

Treat each chord as a separate event:

There is a lot of exploring you can do as there is a lot time on each chord. Remember that slow moving changes and jams with lots of time on each chord lend itself very well to treating each chord as a separate event. Just be sure to feel when the changes occur and change your scale or mode appropriately over each chord.

• Over the Cmaj7 chord try C Major scales, C Major Pentatonic, C Lydian, (G major), and C major type triads and arpeggios.
• Over the Am7 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major), and A minor type triads and arpeggios.

This track features a very dark and atmospheric slow two-chord change. Not a lot of chord movement in this jam, which leans toward melodic and expressive playing over each chord. When soloing, leave lots of space and really work the notes and be expressive.

What relates to all:

• Since we are in minor key we can utilize B Minor Pentatonic & Blues scales over both chords.

B Minor Pentatonic & Blues: B, D, E, F, F#, A

(see all the scales diagrammed out in the written lessons section of this series)

• Furthermore, we can usually solo with a minor mode over all the chords when soloing in minor key. That mode is usually either Aeolian or Dorian and to find out which you have to analyze the chords.

If we analyze the chords we see that there is no major IV chord and no minor ii chord so we can also utilize B Natural Minor scales over both chords as those scales “relate to all”.

If you are not familiar with Natural Minor you can use the concept of major vs. relative minor and play major scales. Every major key has a relative minor key that has exactly the same notes in it. The relative major of B minor is D major. B Natural Minor scales have the exact same notes as D Major scales:

B Natural Minor = B, C#, D, E, F#, G, A

D Major = D, E, F#, G, A, B, C#

(Same notes – just emphasize the root of the mode, B.)

Play all your D Major scales but focus on and emphasize the B notes for B Natural Minor, (B Aeolian). Start on and resolve licks to the B notes as well as other strong chord tones within both chords.

Treat each chord as a separate event:

• Over the Bm11 chord try some B minor type arpeggios and over the Asus2 chord try some A major type arpeggios.
• Also over JUST the B minor chord you can play B Dorian. The Dorian mode sounds great over minor chords. The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key.

Since Dorian is the second mode in any major key, to play B Dorian in this jam we have to ask what major scales 2^nd note is a B note. The answer is A. A Major has the same notes as B Dorian:

B Dorian = B, C#, D, E, F#, G#, A

A Major = A, B, C#, D, E, F#, G#

(Same notes – just emphasize the root of the mode, B.)

Try playing A major scales but start on and emphasize the B notes and you will be playing in B Dorian. Give it a try and get creative with these modal techniques!

You can also try some A major pentatonic and A major triads over the A chord.

A Major Pentatonic = A, B, C#, E, F#

• Just remember that when treating each chord as a separate event you have to be very aware when the chord change so you can change scales appropriately. Don’t get caught playing the wrong scale or arpeggio over the wrong chord as often that may not sound very good.
• Mix them all up, combine, vary, be melodic, and get creative with them. Remember…..it’s all about the sounds and moods you want to create and what sounds best to your ears. So go for it and swing for the fences!