This track is what is known in the industry as a “box groove”. It’s a major key I-IV-V 12-bar blues with a slow change to the IV chord. You should hear that very identifiable major key 12-bar I-IV-V rhythm pattern. That pattern should alert you immediately that this track is wide-open for many soloing avenues.

What relates to all:

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 the cool minor sounds of A Dorian. Remember to keep going to back those A notes and make that the tonal center.

 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 as a separate event:

Try switching pentatonics over each chord. Over just the A chord try A Minor Pentatonic & Blues and A major pentatonic. Over just the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.

Because the chords in this jam are dominant chords you can try the Mixolydian mode over each chord. 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

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. Remember, the key is to shift the tonal center to the root of the mode.

So to play A Mixolydian over the A9 chord ask what major scale’s fifth note is an A note. The answer is D. The fifth note of a D major scale is an A note. So play D Major scales over the A9 chord but emphasize the A notes for A Mixolydian. D Major and A Mixolydian consist of the same notes:

A Mixolydian Mode -A, B, C#, D, E, F#, G

D Major scale – D, E, F#, G, A, B, C#

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 switch to the root of the mode.

Over the A9 chord try A Mixolydian, (same as D Major). Over the D9 chord try D Mixolydian, (same as G Major). Over the E9 chord try E Mixolydian, (same as A Major).

Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example 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!

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 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.

This progression is slightly different than a standard 12-bar progression. In this track you double up on the turnaround. So it has four extra bars making it a 16-bar progression. Listen carefully to the track and you will hear that repeating turnaround. Adds a bit of interest and a cool rest.

What relates to all:

• Since we are in minor key we can play B Minor Pentatonic & Blues scales over all the chords as that relates to all:

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

• If we analyze the chords further 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 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.

For some real head turning unexpected licks try the half-whole diminished scale. This eight-note scale is also known as the symmetrical scale and is a very commonly used scale in jazz guitar. Generally this scale is utilized often over dominant chords, but you can try it in other applications. Often that dissonant sound can be utilized to turn heads and to come up with some very outside the box sounding licks.

Half-Whole Diminished Scale = 1, b2, b3, 3, #4, 5, 6, b7

Notice that the interval pattern of the scale alternate between half steps and whole steps. This is why it’s called the half-whole diminished scale. It is also why it’s called the symmetrical scale, as the interval pattern of a half step followed by a whole step repeats throughout the scale.

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. Remember that slow moving chords scream out for soloing over each chord independently.

• Try switching Pentatonic scales or Natural Minor scales over each chord. Over the Bm7 chord try B Minor Pentatonic & Blues and B Natural Minor. Then over the Em7 chord try E Minor Pentatonic & Blues and E Natural Minor, and over the F#7#9 try F# Minor Pentatonic. Generally you can treat 7#9 chords as minor chords when considering soloing options.
• Over the G9 chord try G Mixolydian, (same as C Major). Mixolydian mode is a great mode for playing over dominant 7^th and 9^th chords. 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 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. Remember, the key is to shift the tonal center to the root of the mode.

So to play G Mixolydian over the G9 chord ask what major scale’s fifth note is a G note. The answer is C. The fifth note of a C major scale is a G note. So play C Major scales over the G9 chord but emphasize the G notes for G Mixolydian. C Major and G Mixolydian consist of the same notes:

G Mixolydian Mode -G, A, B, C, D, E, F

C Major scale – C, D, E, F, G, A, B

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.

• Try various arpeggios over each chord and then mixing them in with their respective scales.
  Since Dorian works great over minor type chords you also can try B Dorian, (A major), over the Bm7 chord and E Dorian, (D major), over the Em7 chord.

Remember to listen for when the chords change and be sure to change scales or modes appropriately. Get lost in the track and have fun with it!

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.