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.

In this jam we have a very cool flat tire groove or what is also known as a Texas backbeat shuffle. It is a 12-Bar I-IV-V in the key of D major and utilizes 7th chords and a slow change to the IV chord.

From analyzing the chords and rhythm we know a bunch of things right off the bat. First we hear that its in major key and we also hear that very identifiable I-IV-V 12-Bar pattern. That tells us this jam is wide open for soloing and improvisational avenues. Next we hear 7th chords so we know that Mixolydian mode can be employed as well as many other soloing avenues.

What Relates to all the chords:

Try D Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords in a major key blues jam.

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

Try D 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:

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

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

D Major Pentatonic is the same as B Minor Pentatonic. D Major and B Minor are relative major and minor. Play all your B Minor Pentatonic scales, but start on and emphasize the D notes and it will be D Major Pentatonic.

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

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

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

Try D Dorian over all the 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. 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 interval:

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 ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian. So play C major scales but start on and emphasize the D notes and you have D Dorian. If you want to learn more about modal playing, major scales, and Dorian please see the written lessons in this series.

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.)

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

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the G7 chord try G Minor Pentatonic & Blues or G Major Pentatonic. Over the A7 chord try A Minor Pentatonic & Blues or A Major Pentatonic.

Try Mixolydian mode over each chord: Mixolydian works great over 7th chords as there is that b7 in the 7th chords, (1,3,5,b7), as well as in the Mixolydian mode (1,2,3,4,5,6,b7) Mixolydian is often the mode of choice over dominant chords.

Mixolydian 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. 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 D7 chord try D Mixolydian (=G Major). Over the G7 chord try G Mixolydian (=C Major). Over the A7 chord try A Mixolydian (=D Major).

Try mixing Minor Pentatonic and Major Pentatonic over each chord. Play D Major Pentatonic over the D7 chord, then switch to D Minor Pentatonic & Blues over the G7 chord, then try D Major Pentatonic over the A7 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up, maybe the next time around the progression try D Minor Pentatonic & Blues over the A7 chord instead of the Major, or maybe Dorian. Get creative and experiment with these techniques. Put your own spin on them and make them your own!

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!

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!