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.

Here we are in a minor key blues jam in the key of G minor. This is not the easily identifiable major key standard 12-bar I-IV-V blues you are probably accustomed to.  So we have to analyze the chords further and think more in minor key terms for this blues jam.

In this jam the chords are moving by fairly slow, so it’s a great jam for treating each chord as a separate event. Remember that if the chords are flying by very fast we don’t have enough time on each chord to solo on each chord independently and in those cases would be playing more of what relates to all.

What Relates to all the chords:

This jam is in minor key and like always you have to analyze the chords to get the complete roadmap to all the soloing and improvisational opportunities.

Because of the chord structure you have to choose solo avenues wisely and pay attention to the chord changes. You can try G Minor Pentatonic & Blues over all the chords, except the D major chord. Or rather you want to be extra careful around that D major chord. Remember when soloing in minor key where there is a V major cord, it can be challenging for utilizing Minor Pentatonic as it can rub over that chord.

So whether we are playing over the Gm7, Cm7, or Eb chords, play G Minor Pentatonic & Blues scales.

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

The D chord moves by pretty fast so you can steer around it while using Minor Pentatonic & Blues if you are careful. The issue is that the D major chord is made of the notes D, F#, and A. So the chord really wants to resolve to that F# note, not necessarily the G note which is the tonality we are playing in with G Minor Pentatonic.

So be cognizant over which notes you are landing on over the D chord and try to not hang on the G note while on that chord. Try to back it up a half step to F# note over that D chord as it will resolve better on that one chord. Also, be sure and try another option on just that D chord as listed below.

Try G Aeolian, (G Natural Minor), over all the chords. In minor key a minor mode usually will relate to all.

Natural Minor, (Aeolian Mode), will 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. 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.

Since we are in minor key we need to analyze the chords. Being that the iv chord is minor, (Cm7), this tells us we can play G Aeolian mode, (G Natural Minor), over all the chords. Try G Natural Minor scales,

G Aeolian = Bb Major:

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

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

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

G minor is the relative minor of Bb major. So play all your Bb major scales but start on and emphasize the G notes making it G Aeolian (G Aeolian = Bb major).

Try mixing both G Aeolian and G Minor Pentatonic & Blues over all the chords for some killer sounds.

Treat each chord like a separate event:

In this jam the chords are slow moving with lots of time on most of the chords. This is a fantastic scenario opportunity to play over each chord and treat each chord as a separate event

• Over just the Gm7 chord try G Minor Pentatonic & Blues, G Aeolian, G Dorian, or G minor type arpeggios.
• Over just the Cm7 chord try C Minor Pentatonic & Blues, C Aeolian, C Dorian or C minor type arpeggios.
• Over just the Eb chord try some Eb major licks or an Eb major arpeggio.
• Over just the D chord try some D major licks or a D major arpeggio, or G Harmonic Minor. Remember that Harmonic Minor works awesome over the V chord in a minor key progression. The keynote in the Harmonic Minor Scale is the major 7th, and it’s located one half step behind the root. You get great tension and release playing that 7th and then going up a half step resolving to the root. Learn more about the Harmonic Minor scale by checking out the written lesson section in this series.

Keep in mind its all about the sounds you want to create and also playing for the song. Harmonic Minor over a blues progression may sound a tad exotic. So you may like it or you may not. Just know that it’s possible and will work, but you have to like the sound of it. Try it and see what sounds best to your ears.

Remember that you don’t have a lot of time on the Eb and D chords in this jam. There is just enough to rip a cool major lick or arpeggio over each chord. Be sure to get off in time when the chords change so you don’t get caught playing the wrong scale over the wrong chord.

Here is a very traditional standard I-IV-V 12-bar blues in the key of C. It has that unmistakable 12-bar blues common rhythmic pattern. As soon as you hear this pattern it should kick off in your head that this is a standard I-IV-V blues jam and that there will be many soloing options.

Like many blues jams this one starts off on the V chord. That is a very common blues device, “let’s take it from the V”. This jam features a pinky embellishment on each chord that adds the 6th interval. That is a very common traditional embellishment in blues rhythms.

What Relates to all the chords:

Try C Minor Pentatonic & Blues over all the chords. Since this is a major 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

Try C Major Pentatonic over all the chords. Major Pentatonic will give you that sweet major bluesy sound. Remember that for most any 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. 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.

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. 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 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, 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 this 12-bar blues jam there is enough time on each chord to treat each chord as a separate event. Be sure to time your changes over each chord and really listen 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 C Minor Pentatonic & Blues over the C chord, F Minor Pentatonic & Blues over the F chord, and G Minor Pentatonic & Blues over the G chord.
• Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, F Major Pentatonic over the F chord, and G Major Pentatonic over the G chord.
• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice as that is a key interval is in the mode:

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

Play C Dorian, (=Bb major), over the C chord. Then play F Dorian, (=Eb major), over the F chord. And then try G Dorian, (=F major), over the G chord. Listen for the chord changes and change your mode as the chords change. Experiment and remember that this device takes time to get proficient. It will get better and quicker over time. Keep practicing the technique with jam tracks and in different keys.