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 is a rocked out track that builds dynamically as it moves along. When soloing over this track try following the dynamic. Play softer on the softer parts and then build up the intensity to mirror the rhythm dynamic. Play along with the rhythm a few times to get the vibe of the track and to feel the rhythmic build. This rock jam screams out minor pentatonic and natural minor.

What relates to all:

Since we are in minor key we can utilize E Minor Pentatonic & Blues scales as one soloing option over all the chords. E Minor Pentatonic & Blues scales relate to all.

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

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.

As we analyze the chords we see a minor iv chord, Am. That points us to utilize E Natural Minor 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 in the written lessons section of this series.

So try E Natural Minor, (E Aeolian Mode), to exude a 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 tonality to the root of the mode. In this case, to the E notes.

Also try mixing 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:

• There is a lot you can try here as you have time on each chord to get creative and experiment with different soloing and improvisational avenues.
• Over just the Em chord try E Minor Pentatonic & Blues scales, E Natural Minor (=G major), E Dorian (= D major), and E minor type arpeggios.
• Over just the Bm chord try B Minor Pentatonic & Blues, B Natural Minor (=D major), B Dorian (=A major), and B minor type arpeggios.
• Over just the Am chord try A Minor Pentatonic & Blues, A Natural Minor (=C major), A Dorian (=G major), and A minor type arpeggios.
• Over just the C and D major chords there is enough time to try a quick major lick or device. Over the C chord try C Major Pentatonic or a C major type arpeggio. Same thing over the D chord but just move up a whole step to the key of D and blast away!

This track is a slower tempo atmospheric progression. The chords mainly switch between an Em voicing, (079980), and Am9, (x05500). There is one other change to a Cmaj7, (x32000), and then to an Em9/D, (x54000). This track has some cool chord voicings so be sure and play the rhythm and add these chords to your chord catalog. The key is E minor and the track is wide open for all kinds of soloing opportunities.

What relates to all:

Since we are in minor key we can consider using E Minor Pentatonic & Blues scales as one option over all the chords as that scale relates to all:

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

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.

As we analyze the chords we see a minor iv chord, Am9. That points us to utilize E Natural Minor 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.

So 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.

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:

The chords in this jam are moving fairly slow, which is perfect 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 more of what “relates to all”.

• Over 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 the Am9 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 the Cmaj7 and Em9/D there isn’t a lot of time so you will have to be quick if you want to try to play over those chords independently. Try a major device over the Cmaj7 chord like a quick C Major Pentatonic lick or a Cmaj7 arpeggio. Try something from the E minor list above over the Em9/D chord. Remember to listen for the chord changes and change what you are utilizing as the chords change.  Mix it up, get creative, and just go for it…..and enjoy the journey!

This track is a faster up-tempo rocker in the key of C minor. Basically just a three-chord progression where all your classic blues-rock licks will sound awesome.

What relates to all:

Soon as the key of C minor is established we know we can utilize C minor pentatonic & blues over all the chords as it relates to all.

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

As we examine the chords we see that we are in minor key and there is no major IV chord or minor ii chord. So that means that we can also try natural minor over both chords. Play C Natural Minor, (same as Eb major), over both chords. Play Eb major scales but focus and emphasize the C notes for C Natural Minor, (C Aeolian).

C Natural Minor (C Aeolian) = C, D, Eb, F, G, Ab, Bb

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

Also try mixing C minor pentatonic and C Aeolian together for some killer head turning licks.

Treat each chord as a separate event:

• Personally I like the natural minor sound over this track but you can also try C Dorian over just the Cm chords. Dorian sounds great over minor chords. C Dorian is the same as Bb major. As always, listen closely for the chord changes and change scales as the chords change.
• The Ab and Bb chords change fairly quickly so there is not a lot of time to play over them individually. But if you are quick you can throw a major device over just those chords. Try Ab Major Pentatonic or an Ab major type arpeggio over the Ab chord. Same with the Bb chord. Just get on and off those chords quickly as they change so you don’t get caught playing the wrong scale over the wrong chord.

This track features a very old school rock vibe. It’s a two-chord progression in the key of B minor. The chords go from a Bm9 chord to an Emadd2 chord, (024000).

What relates to all:

Over both chords try B Minor Pentatonic & Blues scales. Minor Pentatonic usually sounds very cool over rock jams. In this jam B Minor Pentatonic relates to all:

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

Be sure to analyze the chords to determine if a minor mode can be played over all the chords. In this jam 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 also relate to all.  B Natural Minor is also called the B Aeolian Mode.

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. The relative major of B minor is D major. B Natural Minor scales have the exact same notes as D Major:

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:

In this jam there is a lot of time on each chord so you can try many different soloing avenues over each chord. For example, try switching pentatonics or natural minor scales over each chord.

• Over just the Bm9 chord try B Minor Pentatonic & Blues, B Natural Minor (=D Major), and B Dorian (=A Major).
• Over just the Emadd2 chord try E Minor Pentatonic & Blues, E Natural Minor (=G major) and E Dorian (=D Major).

Also try various minor type arpeggios over each chord and then mixing them in with their respective scales.

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 rocking track is a lot of fun to play over as it is very up-tempo and gets you grooving. There is lots of space in this track to solo while being expressive.

The key is E minor and it’s a two-chord change going from Em to Csus2. Remember that sus2 chords do not have thirds in them, (1,2,5), so technically they can be considered either major or minor so you can get creative with them.

What relates to all:

Since we are in minor key we can instantly consider utilizing E Minor Pentatonic & Blues as one soloing option over all the chords. In general pentatonic scales sound great over rock tracks.

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

Now let’s examine the chords to determine which minor mode we can solo over all the chords. Notice there is no major IV chord or minor ii chord so we can also utilize E Natural Minor, (same as G major), over all the chords.

Try E Natural Minor, (Aeolian Mode), to exude a sad, modern, dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark 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 become E Natural Minor. This is the crux of playing in the modes of the major scale.

Also try mixing 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 :

• Over the Em chord try E natural minor, (=G major), E Dorian, (=D major), and E Minor Pentatonic & Blues.
• You can try a few major type devices over the C chord, but staying more in the tonality of E seems to work best. But try some C Major Pentatonic over the C chord and see how you like it.

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.