Here we have a standard major key 12-bar blues progression known in the industry as a Grinder. It’s one of the more common rhythmic grooves that you will find in the blues. Lots of time on each chord and this groove is often played as it is here with 5th chords and embellished with 6th chords. This one has the slow change to IV chord.

Once you hear the common 12 bar progression and that very identifiable major key blues rhythm you know that the jam is wide open for soling opportunities. Which avenues you ultimately decide upon utilizing will depend on your playing style and what types of moods or sounds you want to create.

What Relates to all the chords:

Try E Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic is often the first choice amongst blues players over I-IV-V blues progressions.

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

Try E Major Pentatonic over all the chords for that sweet major sound. Remember that for most major key jams you can use Major Pentatonic over all the chords This will give you that sweet major bluesy sound that is quite different than the minor sound. Keep resolving back to those E notes to slam-dunk that major tonality:

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

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

E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be sweet sounding E Major Pentatonic.

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

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

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

Try E Dorian over all the chords. Because we know that both Major Pentatonic & Minor Pentatonic will work, we then know that the Dorian mode will also work. Dorian is considered more of a minor mode, but works great over major key I-IV-V blues, swings, and shuffle progressions.

Dorian has the minor elements in it (b3, b7) but also has some major elements, (2nd, 6th). So in these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both minor and major.

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

Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales’ 2nd note is an E note. The answer is D. So E Dorian is the same as D major:

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.)

To play in E Dorian just play all your D major scales but start on and emphasize the E notes. Try resolving your licks focusing on those E notes to bring out that minor Dorian tonality.

Try mixing E Minor Pentatonic & Blues, E Major Pentatonic, and E Dorian over all the chords. Notice how going back and forth from the five-note pentatonics to the seven-note diatonic scales can be quite refreshing to the ear. Experiment and get creative!

Treat each chord like a separate event:

• Be sure to time your changes over each chord and listen closely to the rhythm to ensure you don’t get caught playing the wrong scale over a given chord.
• Try moving Minor Pentatonic & Blues over each chord. Play E Minor Pentatonic & Blues over the E chord.
• Play A Minor Pentatonic & Blues over the A chord. Play B Minor Pentatonic & Blues over the B chord.
• Try moving Major Pentatonic over each chord. Play E Major Pentatonic over the E chord. Play A Major Pentatonic over the A chord. Play B Major Pentatonic over the B chord.
• Try moving the Dorian mode over each chord. Play E Dorian, (=D major), over the E chord. Play A Dorian, (=G major), over the A chord. Play B Dorian, (=A major), over the B chord.

This track is a 12-bar blues i-iv-v progression. This one is very slow tempo wise and is in the key of D minor. We have a bluesy 12-bar pattern, but this one is in minor key, or leans toward minor key as the chords do not have 3rds in them. Each chord here is played with the root or 1, 5th, and b7th. But put all together in this progression there is more of a minor sound than major.

So this is an interesting jam as we really have to analyze and study the chords to get the complete solo picture. We have to go by sound and use our discretion as the chords do not have that tell tale 3rd in them. Often that is how we tell the difference between a minor chord and major chord, by examining the third.

Major chords will have major 3rds, and minor chords will have b3rds. A major chord is made of the intervals 1,3,5 and a minor chord is made of the intervals 1,b3,5.

What Relates to all the chords:

As stated above, we lean more toward minor key in this jam and in fact if you try some Major Pentatonic or Mixolydian mode you will hear a few notes clash as those solo avenues are just too “sweet” sounding over these chord changes. Again, you must use your discretion. Try some of these and feel free to experiment and get creative:

D Minor Pentatonic & Blues over all the chords. Since this is a i-iv-v blues progression Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Dorian over all the chords. I like the Dorian mode here more than the Aeolian mode because each chord slides up a whole step to the 6th of each chord. For example on the D chord when it slides up, the high note slides up to a B note. That change is very prominent. The B note is in the D Dorian scale as it is the 6^th. The corresponding note in the D Aeolian scale would be a Bb or flat 6th. Because it is a prominent note, you could use Aeolian and steer around it, but I suggest going with Dorian to be safe.

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. 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. If you want to learn more about modal playing, major scales, and Dorian please see the written lessons in this series.

Try mixing D Minor Pentatonic & Blues as well as D Dorian over all the chords for some cool tones.
Cool sounds can be created by switching from the 5-note pentatonic scales to the 7-note Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

Slow tempo jams like this one are excellent to play over each chord independently. You have a lot of time on each chord before the change happens. Try some of these suggestions and remember that this technique of treating each chord as a separate event takes some time to develop. So be patient and it will come with time and practice.

• Try moving Minor Pentatonic & Blues scales over each chord. This is a fun one to try as you get some cool combinations of sounds and intervals. Play D Minor Pentatonic & Blues over the D chord. Then play G Minor Pentatonic & Blues over the G chord. And then try A Minor Pentatonic & Blues over the A chord. Listen how each pentatonic outlines the chordal movements.
• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with slides to the 6th of each chord, Dorian again is a perfect choice as that interval is in the Dorian mode:

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

• Play D Dorian, (=C major), over the D chord. Then play G Dorian, (=F major), over the G chord. And finally try A Dorian, (=G major), over the A chord.

Really listen for the chord changes and be sure to change scales appropriately as the changes happen. Go slow at first and be patient. Remember……….your playing is an evolution!

This is a major key I-IV-V blues jam in the key of C. The C chord is the I chord, F is the IV chord, and G is the V chord. This jam is what’s called a “slow change” to the IV chord. So you are staying on the I chord at first for four bars before it switches to the IV chord for two bars.

The first thing to note about this jam is that it is a major key I-IV-V blues progression, so it is wide open for soloing options. Soon you will get used to hearing these I-IV-V blues type shuffle progressions and will able to identify them immediately.

What Relates to all the chords:

There are many soloing avenues with major key I-IV-V blues progressions so a lot will depend on your playing style and what type of mood or sounds you want to create. Here are some suggestions to get you started.

For that minor bluesy sound try C Minor Pentatonic & Blues over all the chords. Since this is a major key I-IV-V blues progression Minor Pentatonic & Blues will give killer bluesy sounds and is probably the first choice for many players.

C Minor Pentatonic & Blues = C, Eb, F, Gb, G, Bb

For that sweet major bluesy sound try C Major Pentatonic over all the chords. Remember that for most major key jams you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam. This will give you that sweet major bluesy sound that is quite different than the above minor sound.

C Major Pentatonic – C, D, E, G, A

C Major Pentatonic is the same as A Minor Pentatonic. C major and A minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic and have that sweet major happy sound. You shift the tonal center of the A Minor Pentatonic scales to C by starting on, resolving to, and emphasizing the C notes, not the A notes.

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. You may want that sweet major sound for this jam. Remember that it all comes down to the sounds, moods, and textures that you want to create with the music.

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.)

Try C Dorian over all the chords. Because we know that both major pentatonic & minor pentatonic will work we then know that the Dorian mode will also work. Remember Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swings, and shuffle progressions. The Dorian mode also 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 C Dorian ask what major scales 2^nd note is a C note. The answer is Bb. Bb Major has the same notes as C Dorian:

C Dorian = C, D, Eb, F, G, A, Bb

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

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

C Dorian is the same as Bb major, (C Dorian=Bb major). So play all your Bb major scales but start on and emphasize the C notes for that killer Dorian tonality.

Also try mixing C Minor Pentatonic & Blues, C Major Pentatonic, and C Dorian over all the chords. Notice the cool differences between the major versus the minor and also the five note pentatonics versus the seven note diatonic scale. Cool stuff!

Treat each chord like a separate event:

With bluesy 12-bar progressions like in this jam you have a lot of time on each chord. This is fantastic for treating each chord as a separate event. Remember to listen to the rhythm and time your changes so you change your scale or landing notes as the chords change. Be careful not to get caught on the wrong chord. Here are a few avenues to try that will get you started:

Try moving Minor Pentatonic & Blues over each chord. Play C Minor Pentatonic & Blues over the C chord.

Play F Minor Pentatonic & Blues over the F chord. Play G Minor Pentatonic & Blues over the G chord

Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, (C Major Pentatonic = A Minor Pentatonic). Play F Major Pentatonic over the F chord, (F Major Pentatonic = D Minor Pentatonic). Play G Major Pentatonic over the G chord, (G Major Pentatonic = E Minor Pentatonic).

Try mixing up the Minor Pentatonic and Major Pentatonic over each chord. This is a very cool device that many blues players like BB King often utilize. Get creative and experiment with this technique.

Play C Major Pentatonic over the C chord then switch to C Minor Pentatonic over the F chord. Then try C Major Pentatonic over the G chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try C Minor Pentatonic & Blues over the G chord. Try it out and see what sounds best to your ears

Try moving the Mixolydian mode over each chord. Because the chords used in this jam are 9th chords, Mixolydian would be a great mode to utilize.

Whenever you see 7th or 9th chords you instantly want to think of Mixolydian mode as a possibility, 9th chord – 1,3,5,b7, 9. This is an incredibly useful mode, especially for blues and jazz playing.

Dominant 7th and 9th chords have a b7 in them so Mixolydian is a perfect modal choice as it is considered more a major mode and has that b7 interval in the mode:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th note instead of a natural 7th.

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Try this mode over dominant chords like 7th and 9th chords when treating each chord as a “separate event”. Mixolydian is the 5th mode in any major key. To determine the parent major scale for C Mixolydian, ask what major scales’ fifth note is a C. The answer is F. The 5th note of an F major scale is C. So to play C Mixolydian over the C9 chord just play all your F major scales but just start on and emphasize the C notes and its C Mixolydian. Follow the same formula for the F and G chords.

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

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

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

Play C Mixolydian, (= Fmajor), over the C9 chord. Play F Mixolydian, (= Bb major), over the F9 chord. Play G Mixolydian, (= C major), over the G9 chord.

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. So be sure to shift emphasis to the root of the mode. Get creative, experiment, and rock on!

This track is a major key I-IV-V 12-bar slow blues with the fast change to the IV chord. This jam utilizes 9th chords. Dominant 7th and 9th chords are very common in the blues.

This is a slower tempo blues jam so you have a long time on each chord. This is a perfect track for treating each chord as a separate event. You should hear that identifiable major key 12-bar I-IV-V pattern that alerts you to a wide-open jam. As well as soon as you hear 9th chords, consider using the Mixolydian mode over each chord.

What Relates to all the chords:

Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities.

Try A Minor Pentatonic & Blues over all the chords for that minor bluesy vibe:

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

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.

Try A Dorian over all the chords. Dorian works great over major key I-IV-V blues, swings, and shuffles. A Dorian is the same as G major, (A-Dorian=G major).

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.)

So play all your G major scales but emphasize and start on the A notes and you have A Dorian.

Try mixing A Minor Pentatonic, A Major Pentatonic, and A Dorian over all the chords. Explore and see which sound best to your ears.

Treat each chord like a separate event:

• Switch Pentatonic scales over each chord. So over the A chord try A Minor Pentatonic & Blues or A Major Pentatonic. Then over the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. And over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.
• Try playing the Mixolydian mode over each chord. Mixolydian is the fifth mode of the major scale and is only one note different than the major scale. Mixolydian adds the b7th:

Mixolydian Mode – 1, 2, 3, 4, 5, 6, b7

Major Scale – 1, 2, 3, 4, 5, 6, 7

(Very similar scales – just one note difference.)

Mixolydian works great over 9th chords as there is the b7 interval in the 9th chord, (1,3,5,b7,9). That b7 interval is also in the Mixolydian mode (1,2,3,4,5,6,b7).

• Over the A9 chord try A Mixolydian (=D Major).
• Over the D9 chord try D Mixolydian (=G Major).
• Over the E9 chord try E Mixolydian (=A Major).
• Try mixing Minor Pentatonic and Major Pentatonic over each chord. Play A Major Pentatonic over the A9 chord, then switch to A Minor Pentatonic & Blues over the D9 chord. Then try A Major Pentatonic again when you get to the E9 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try A Minor Pentatonic & Blues over the E9 chord instead of the Major, or maybe Dorian – get creative and have fun with the jam!

The chords are Dm7, Gm7, Am7, and A7#9 for the turnaround

This track is a standard minor key slow blues i-iv-v progression. The one-four-five is the meat and potatoes of blues rhythms.

What relates to all:

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

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Remember in minor key a minor mode also usually relates to all the chords. That minor mode is usually Aeolian or Dorian.

Since we are in minor key and there is no major IV chord, (it’s a Gm7 iv chord in this jam), we can play D Natural Minor scales or D Aeolian mode, (same as F major), over all the chords:

D Natural Minor, (D Aeolian Mode) = 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 play F major scales over all the chords but start on and emphasize the D notes for D Aeolian. Resolve licks to the D notes and hang on some D notes at times to drive home the point that D is the root of the mode, the tonal center. That emphasis on the D notes will produce the Aeolian mode.

Treat each chord as a separate event:

On this track there is lot of time on each chord. That is a perfect scenario for treating each chord as a separate event. Listen closely for the changes and play through the rhythm a few times to get a feel for when the changes happen.

• Over the Dm7 chord try D Minor Pentatonic & Blues, D Natural Minor, (same as F major), D Dorian, (same as C major). For arpeggios try Dm, Dm7, Fmaj7, and Fm7b5. Also try Am Pentatonic and Em Pentatonic over the Dm7 chord.
• Over the Gm7 chord try G Minor Pentatonic & Blues, G Natural Minor, (same as Bb major), G Dorian, (same as F major). For arpeggios try Gm, Gm7, Bbmaj7, and Am7. Also try Am Pentatonic over the Gm7 chord.
• Over the Am7 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major). For arpeggios try Am, Am7, Bbmaj7. Also try Bm Pentatonic over the Am7 chord.
• Over the A7#9 turnaround, treat that chord like a minor chord. So all the above A minor devices will work. In general treat most 7#9 chords like minor chords for that bluesy rock sound.

The below lesson is written for guitar. Many blues bass players will be hanging out the root and fifth notes of the chords. But we wanted to present other ideas so you can stretch out a bit if you desire. Try some of the other scales and notes listed below and get creative with your bass lines. You just don’t have to play pentatonic scales, as there are lots of options out there depending on your playing style and the groove and mood you want to create laying down that bass. These listed below will hopefully inspire you to be creative and experiment while developing your own style.

This jam track is in the key of G and it’s a 12-Bar blues I-IV-V slow change progression utilizing 7th chords. Two things should scream when you hear this jam. The first is that it is a major key I-IV-V blues jam and therefore wide open to all kinds of soloing opportunities. The other is that the chords are dominant 7^th chords so Mixolydian and Major pentatonic should be on your list of potential soloing devices.

What Relates to all the chords:

There are many soloing options in this jam as it’s a major key I-IV-V 12-bar blues. Which avenues you choose will depend on your playing style and what type of mood or sounds you want to create.

Try G Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic is often the first choice amongst blues players over I-IV-V blues progressions.

G Minor Pentatonic & Blues = G, Bb, C, Db, D, F

Try G Major Pentatonic over all the chords for that sweet major sound. G Major Pentatonic is the same as E Minor Pentatonic. G Major and E Minor are relative major and minor. Play all your E Minor Pentatonic scales all over the neck, but start on and emphasize the G notes and it will be sweet sounding G Major Pentatonic. Keep resolving back to those G notes to hammer home the major tonality.

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

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

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

Also try G Dorian over all the chords. Dorian works great over major key I-IV-V blues, swing, and shuffle progressions. In these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both major and minor.

Dorian is the 2nd mode of the major scale so ask what major scales’ 2nd note is a G note. The answer is F. An F majors scales 2^nd note is a G note. So G Dorian is the same as F major, (G Dorian=F major). So play all your F major scales but start on and emphasize the G notes and you have G Dorian.

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

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

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

Try mixing G Minor Pentatonic, G Major Pentatonic, and G Dorian over all the chords. See what sounds you like best and experiment with all the above techniques and devices as well as come up with your own avenues.

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the G7 chord try G Minor Pentatonic & Blues or G Major Pentatonic. Over the C7 chord try C Minor Pentatonic & Blues or C Major Pentatonic. Over the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic.

Try Mixolydian mode over each chord. The Mixolydian mode works great over 7th chords as there is a b7th interval, (1,3,5,b7). There is also a b7th interval in the Mixolydian mode (1,2,3,4,5,6,b7). Mixolydian would be the mode of choice over the chords.

Mixolydian mode sounds great over dominant chords like 7ths and 9ths. This is an incredibly useful mode, especially for blues and jazz playing.

The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th interval instead of a natural 7^th:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Over the G7 chord try G Mixolydian (=C Major). Over the C7 chord try C Mixolydian (=F Major). Over the D7 chord try D Mixolydian (=G Major)

Here we have a slow blues jam in the key of E. This progression is a I-IV-V 12-Bar progression with a slow change to the IV chord. This is a slow tempo track so you have lots of time on each chord. This is perfect tempo wise if you to choose to solo by treating each chord as a separate event.

Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities. As soon as you hear these very identifiable blues progressions you know that they are wide open and you can go hog wild if you wish.

What Relates to all the chords:

For that minor bluesy sound try E Minor Pentatonic & Blues over all the chords:

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

For that sweet major sound try E Major Pentatonic over all the chords:

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

Here is a little trick to make it easier to get to Major Pentatonic if you are not familiar. E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor so both are constructed from exactly the same notes:

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

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

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

If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be E Major Pentatonic. By focusing on those E notes it will exude those sweet, happy, major sounds.

Try E Dorian over all the chords. Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales 2nd note is an E note. The answer is D. So E Dorian is the same as D major:

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.)

Try playing D major scales but start on and emphasize the E notes. Resolve to and focus on those E notes and you are playing in E Dorian.

Try mixing E Minor Pentatonic, E Major Pentatonic, and E Dorian over all the chords for some killer sounds. Experiment, explore, and keep trying new and interesting things on the instrument.

Treat each chord like a separate event:

In this jam the chords are moving pretty slow so you have a lot of time on each chord. This is perfect for treating each chord as a separate event. Remember to listen to the rhythm and time your changes so you change your scale or landing notes as the chords change. Here are a few avenues to try:

• Try moving Minor Pentatonic & Blues scales over each chord. Play E Minor Pentatonic & Blues over the E chord and then play A Minor Pentatonic & Blues over the A chord and then B Minor Pentatonic & Blues over the B7 chord. Listen to how each pentatonic scale sounds as it outlines it’s corresponding chord.
• Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord,, and then play A Major Pentatonic over the A chord and then B Major Pentatonic over the B7 chord. Again, listen to the sounds of each scale and how they sound over each corresponding chord. It’s all about the sounds that you can create.
• Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example try E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try E Major Pentatonic over the B7 chord . Listen to how well this technique outlines and implies the chord changes.
• Try B Mixolydian over the B7 chord. Remember that Mixolydian is one of the modes of choice when soloing over 7th and 9th chords. Mixolydian is the 5th mode in any major scale. So to find the corresponding parent major scale for B Mixolydian ask what major scales 5th note is a B note. The answer is E, so B Mixolydian = E major:

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

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

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

Play E major scales and licks but start on and emphasize the B notes and you are now playing in B Mixolydian. Keep coming back to and resolving to those B notes while playing E major scales and you get the mood of B Mixolydian.