This is a very atmospheric two-chord change. This is the type of jam in which melodic playing leaving lots of space works well. Try to come up with bursts of melodic licks that you can then repeat and vary throughout the track. Keep coming back to those licks as you can really grab the listener’s attention using melody and repetition. Always start your soloing process by listening to the track and deciding what types of sounds you want to create. Then analyze the chords to get the full soloing roadmap.

What relates to all:

Since we are in minor key we can instantly consider using Minor Pentatonic & Blues scales as one soloing option over all the chords:

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

When in minor key you can also usually play a minor mode over all the chords. The mode would be Aeolian or Dorian. 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 minor key soloing strategies read the Minor Key Soloing written lessons in the written lessons section of this series.

When analyzing the chords in this jam there is a minor iv chord, Am9. That points us to utilize E Natural Minor over all the chords. Try E Natural Minor, (Aeolian Mode), to exude a more sad, modern, darker sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark, and mournful sound that is different than minor pentatonic and Dorian. It adds melodic half steps and more lick and string bending avenues. Natural Minor scales sound great over minor chords.

If you are not familiar with Natural Minor you can use the concept of major vs. relative minor to play major scales. Every major key has a relative minor key that has exactly the same notes in it. So you can use that to your advantage. The relative major of E minor if G. E natural minor scales have the exact same notes as G major scales:

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

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

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

So if you know some major scales or just more familiar with major scales, play G major scales but start on and emphasize the E notes and it will then become E Natural Minor. This is the crux of playing in the modes of the major scale. Shifting that emphasis to the root of the mode, in this case E.

Also try both and mix E Minor Pentatonic & Blues with E Natural Minor, (E Aeolian mode). You can create killer sounds going between the five-note Pentatonic scale and the seven-note Natural Minor scale.

Treat each chord as a separate event:

In this jam the chords are moving slow with lots of time on each chord. This track is great for treating each chord as a separate event. Remember, if the chords are flying by fast, you won’t have enough time to solo on each chord independently and you would be playing what relates to all.

• Over just the Em chord try E Minor Pentatonic & Blues scales, E Natural Minor, (same as G major), E Dorian, (same as D major), and E minor type arpeggios.
• Over just the Bm chord try B Minor Pentatonic & Blues, B Natural Minor, (same as D major), B Dorian, (same as A major), and B minor type arpeggios.

In this jam there is lots of time on each chord as the changes are fairly slow. Listen to the track and get the rhythmic feel and vibe to determine the moods and textures that you wish to create.

What relates to all:

Since we are in minor key we can instantly consider utilizing A Minor Pentatonic & Blues as one soloing option over all the chords:

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Remember in minor key a minor mode usually relates to all the chords. That minor mode is usually either Aeolian or Dorian. To determine which will work we have to analyze the chords and apply this minor key soloing rule:

When playing over all the chords in a minor key progression, 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 then use the Dorian Mode.

When analyzing the chords in this jam we see that there is a major IV chord, D. So the mode we can use to solo over all the chords, what relates to all, is Dorian. 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 A Dorian in this jam we have to ask what major scales 2^nd note is an A note. The answer is G. G Major has the same notes as A Dorian:

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

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

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

Try playing G major scales but start on and emphasize the A notes and you will be playing in A Dorian.

Play your G major scales but focus and emphasize on the A notes for the cool minor sounds of A Dorian.

Treat each chord as a separate event:

In this jam the chords are moving fairly slow which is awesome for treating each chord as a separate event. Here are some suggestions to get you started:

• Over just the Am chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major), and A minor type arpeggios.
• Over just the D chord try D Major Pentatonic, (same as B Minor Pentatonic), and D major type triads and arpeggios.
• Over just the F and E chords – there is very little time on these two chords but you can try and squeeze in an F Major Pentatonic lick over the F chord and E Major Pentatonic lick over the E chord. Or just stick with what relates to all and play A Minor Pentatonic or A Dorian over both chords. Experiment and see what sounds best to your ears.

This fun track is in the key is D and is wide open. The progression is a Dsus2 to a Dsus2/Bb chord. The chords move from a D suspended 2nd chord, XX0230, to a D suspended 2nd with Bb in the bass, X10230.

Since there is little chordal movement you have lots of soloing avenues. Remember that suspended 2nd chords are not really major or minor as they have no 3rd in them. The sus2 chord is a 1, 2nd, and 5th. There is no 3rd in the chord. You can usually tell a major from minor chord by looking at that 3rd degree. A major chord has a major 3rd and a formula of 1,3,5 while a minor chord has a flat 3rd, (b3), and a formula of 1,b3,5.

Since this is a rock jam staying more with a minor tonality works great. Playing the darker minor type scales over the suspended chords exudes a real rock vibe.

What relates to all:

Since the chords in this jam are so closely related, only one note difference in the bass, you will probably play more of what relates to all than treating each chord as a “separate event”. Although you can try and land on a Bb note over the Bb bass note in the 2nd chord.

Over both chords try D Minor Pentatonic and Blues. This is the scale of choice for most players and works great over this track:

D Minor Pentatonic & Blues Scale – D, F, G, Ab, A, C

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

Also try D Natural Minor scales, (D Aeolian) over both chords. Remember that you can think in terms of major scales if you like to look at things from that angle. F major’s relative minor is D minor. The notes of an F major scale and D minor scale are the same. So you can play F major scales but just emphasize the D notes and it will be D natural minor, D Aeolian.

D Natural Minor = D, E, F, G, A, Bb, C

F Major = F, G, A, Bb, C, D, E

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

Natural Minor, (Aeolian Mode), exudes a sad, modern, and dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor. Aeolian is considered a minor mode and is always the 6th mode in any major key. Natural Minor scales sound great over minor chords. And, at times, you can also use Natural Minor over all the chords in a minor key progression, more on that in the written lessons section.

Also try mixing D Minor Pentatonic & Blues with D Natural Minor, (D Aeolian mode). You can create killer sounds going between the five-note pentatonic scale and the seven note Minor scale.

Over both chords you can also try D Dorian, which is the same as C major. Personally I like the natural minor sound better over this track but experiment and see what sounds best to your ears – enjoy!

This is a very major sounding ballad in the key of C major. Since it is so major sounding we know that Minor Pentatonic & Blues will not work over all the chords. We have to seek out other soloing options that gel with the major feel of the jam. However, we can use Minor Pentatonic & Blues over some of the minor chords individually, Em & Am.

By listening to the progression we have a full measure on each chord. So there is lots of time on each chord, which is great for treating each chord as a separate event. So this jam presents lots of soloing options. For more lessons on minor and major key soloing strategies and techniques please see the written lessons section of this series – enjoy!

What Relates to all the chords:

Try C Major Pentatonic over all the chords. For a major key jam you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam. C Major Pentatonic is the same as A Minor Pentatonic.

C Major and A Minor are relative major and minor and consist of the same notes:

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

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

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

If you tend to think more in terms of Minor Pentatonic or just know those shapes then play all your A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic. By shifting those scales to the root, C, they take on that real major happy sweet sound as opposed to the darker, bluesy minor sound.
And we want that sweet major sound for this jam as its very major sounding.

C Major Pentatonic – C, D, E, G, A

A Minor Pentatonic – A, C, D, E, G

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

Always remember that it all comes down to the sounds – what moods and textures that you want to create with the music.

Try full C Major scales. Full major scales in slower major sounding ballad jams work great. At first emphasize and resolve to the C notes. Then for a bolder solo statement try landing on the chord tones of each individual chords when the chords change.

Major is also called Ionian mode and the relative Minor of C major is A minor. So if you know your Natural Minor scales play all your A Natural Minor scales over all the chords but emphasize the C notes to make it sound major. The relative major and minor are constructed of the same notes:

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

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

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

Treat each chord like a separate event: The chords is this track change fairly slow. There is a full measure on each chord. So this lends to treating each chord as a separate event and soloing over each chord independently. Try mixing it up with these applications:

• Over the C major chord play C Major Pentatonic, C Major scales, and C major type arpeggios. Also, some like the sound of the Lydian mode over major chords but I prefer using the Lydian mode over major7 chords. In this jam C Lydian over the C major chord yields the sharp 4^th, (#4), of the Lydian mode. This notes can stick out and you need to check that one out for yourself to see if you feel it’s a pleasing note to your ear. C Lydian = G major.

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

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

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

• Over the Em chord play E Minor Pentatonic & Blues, E Dorian, E Aeolian, and E minor type arpeggios.
• Over the Am chord play A Minor Pentatonic & Blues, A Aeolian, A Dorian, and A minor type arpeggios.
• Over the G chord play G Major Pentatonic, G Major scales, and G major type arpeggios.

This is a very major sounding ballad in the key of G major. Since it is so major sounding we know that minor pentatonic and blues will probably not work over all the chords. We have to seek out other soloing options that gel with the major feel of the jam. However, we can use Minor Pentatonic & Blues over just that one minor chord, Em, individually. So don’t throw Minor Pentatonic out the window as yet.

What Relates to all the chords:
Try G Major Pentatonic over all the chords. For any major key jam you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam:

Major Pentatonic = 1, 2, 3, 5, 6

G Major Pentatonic is the same as E Minor Pentatonic. G Major and E Minor are relative major and minor and consist of the same notes:

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

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

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

If you think more in terms of Minor Pentatonic or just know those shapes then play all your E Minor Pentatonic scales, but start on and emphasize the G notes and it will be G Major Pentatonic. This will yield that real major happy sweet major sound as opposed to the darker, bluesy, minor sound.

Try playing full G Major Scales over all the chords. Full major scales in a major sounding ballad jam usually sound awesome. At first, emphasize and resolve to the G notes, then for a bolder solo statement try landing on the chord tones of each individual chord as the chords change.

Major is also called the “Ionian” mode and the relative Minor of G major is E minor. So if you know your Natural Minor scales play all your E Natural Minor scales over all the chords but emphasize the G notes to make it sound major.

Treat each chord like a separate event:

In this jam the there is a full measure on each chord. This lends well to treating each chord as a separate event. Try mixing it up with these suggestions.

Over the G chord play G Major Pentatonic, G major scales, and G major arpeggios. Some like the sound of the Lydian mode over major chords but I prefer using the Lydian mode over major7 chords. In this jam G Lydian over the G major chord yields the sharp 4th, (#4), of the Lydian mode. This sticks out and you need to check that one out for yourself to see if you feel it’s a pleasing note to your ear.

Lydian is the fourth mode of the major scale. So to play in G Lydian you have to ask what major scales 4^th note is a G note. The answer is D. The fourth note of a D major scale is G. So play D major scales but start on and emphasize the G notes for G Lydian, G Lydian=D major:

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

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

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

• Over the D chord play D Major Pentatonic, D major scales, D major type arpeggios.
• Over the Em chord play E Minor Pentatonic, E Aeolian, E Dorian, and E minor type arpeggios.
• Over the C chord play C Major Pentatonic, C major scales, and C major type arpeggios.

This track is a very dark, atmospheric track featuring all synthesizer sounds. The track is just variations of a Dm9 chord. The key is D minor and since there is just one chord and no changes its wide open for creative soloing options.

This track is all about the sounds, textures, and what mood you want to create. Try to come up with melodic licks that can be repeated and varied. Leave lots of space and try to catch the vibe of the track.

Remember that with any mode or scale it’s not enough just to know the scale shape, you also have to know how to use the scale and apply it in a musical situation. Application is key, so keep studying the relationships between chords and scales and how they are applied musically.

• For soloing over this track with a bluesy sound try D Minor Pentatonic & Blues scales:

D Minor Pentatonic & Blues Scale – D, F, G, Ab, A, C

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

• Key point for minor key soloing, and burn this one into your brain. 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.
• So try D Natural Minor, (Aeolian Mode), to exude a sad, modern, and dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark, and mournful sound that is different than minor pentatonic and Dorian. It adds melodic half steps and more lick and string bending avenues than Minor Pentatonic.

Natural Minor scales sound great over minor chords. And, at times, you can also use Natural Minor over all the chords in a minor key progression, more on that in the written lessons section.

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

D Natural Minor = D, E, F, G, A, Bb, C

F Major = F, G, A, Bb, C, D, E

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

So if you know some major scales or just more familiar with major scales, play F major scales but start on and emphasize the D notes and it will then become D Natural Minor. This is the crux of playing in the modes.

• Also try both and mix D Minor Pentatonic & Blues with D Natural Minor, (D Aeolian mode). You can create killer sounds going between the five-note Pentatonic scale and the seven note Minor scale.
• The Dorian mode also sounds great over Minor chords. I prefer to use Aeolian, (Natural Minor) in this jam but try Dorian and see how it sounds to your ears. Remember it’s all about the sounds and moods that you want to create.

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.

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 D Dorian in this jam we have to ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian:

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

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

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

So try playing all your C Major scales but start on and emphasize the D notes and you will be playing in D Dorian. Give it a try and get creative!

There are no other chords in this track but variations of D minor. So you don’t have to worry about other chords and chord changes. As stated above try D Minor Pentatonic & Blues, D Natural Minor, (same as F Major), and D Dorian, (same as C Major). Also try D minor and F major type arpeggios. And remember when soloing modally to always emphasize the root of the mode, in this case, the D notes.

To learn more about the modes and modal playing be sure to read the written lessons on Modal Playing in the written lessons section of this series – fun stuff!

Now put on the track and just get lost in it – and remember………your playing is an evolution!

This track is very interesting as theoretically its in the key is A minor. But it also leans toward being major sounding. The rhythmic riffs stand out more than the actual chords, which are more utilized as accents. The track is basically a i-iv-v blues progression. It’s pretty wide open so there is lots of soloing avenues to try as you can get creative with both A minor and A major devices.

What relates to all the chords:

With the progression sounding more minor key, you can utilize Minor Pentatonic & Blues over all the chords. A Minor Pentatonic & Blues scales work great over all the chords as those scale relates to all.

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Then as you analyze the chords notice there is a minor iv chord, Dm7. So this tells us that we can utilize Aeolian or Natural Minor over all the chords. Aeolian will exude a sad, modern, and dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark, and mournful sound that is different than Minor Pentatonic and Dorian. Aeolian adds melodic half steps and more lick and string bending avenues than Minor Pentatonic.

Natural Minor scales sound great over minor chords. And, at times, you can also use Natural Minor over all the chords in a minor key progression, like in this jam.

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. So you can use that to your advantage. The relative major of A minor is C major. A Natural Minor scales have the exact same notes as C Major scales:

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

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

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

So if you know some major scales or just more familiar with major scales, play C major scales but start on and emphasize the A notes and it will then become A Natural Minor. This is the crux of playing in the modes, to really focus on that tonal center, the root of the mode.

Also try mixing A Minor Pentatonic & Blues scales with A Natural Minor scales all over the neck. Repeat and vary your licks and remember to emphasize the A notes. At times, resolve your licks to the A notes and also try landing on strong chord tones as the chords change.

You can also try some A Major Pentatonic licks. This will exude a more sweet major sound as opposed to the darker bluesy minor pentatonic sounds. Try A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

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

Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound. The jam is wide open so there is lots of room for interpretation. Often you will need to use your discretion and this is one jam where many soloing avenues will work together so get creative and have fun!

Treat each chord as a separate event:

• Try switching pentatonic scales or natural minor scales over each chord. Over the Am7 chord try A Minor Pentatonic & Blues and A Natural Minor. Over the Dm7 chord try D Minor Pentatonic & Blues and D Natural Minor. Over the Em7 chord try E Minor Pentatonic & Blues and also E Natural Minor.
• Over the E7#9 try E Minor Pentatonic & Blues. You can treat 7#9 chords as minor chords when considering soloing options.
• Try various arpeggios and then mixing them in with their respective scales. Remember that good arpeggio playing mixes arpeggios in with scales and licks.

Since Dorian works great over minor type chords you can try A Dorian over the Am7 chord, D Dorian over the Dm7 chord, and E Dorian over the Em7 chord. Remember there isn’t a lot of time on the turnaround chords so you have to get on and off them quickly. You don’t want to get caught playing the wrong scale over the wrong chord so be sure to listen for the changes and change scales appropriately.