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 jam is a traditional I-IV-V 12-bar blues in the key of G and has many soloing options. Like many blues jams this one starts off on the V chord. This jam features a pinky embellishment on each chord adding the 6th to each chord. This is a very traditional blues rhythm device.

This is a variation on the 12-bar pattern that you may not be used to. It is a different 12-bar pattern than the most of the other 12-bar jams in this vault, but it is a common pattern used in the blues. So be careful when soloing over each chord independently on this track.

First you want to become familiar with the pattern or number of measures on each chord. I suggest playing the rhythm a few times until you feel comfortable with this 12-bar pattern.

What Relates to all the chords:

Since this is a major I-IV-V blues progression Minor Pentatonic & Blues will exude killer bluesy sounds and will often be the first choice for many blues players. Try G Minor Pentatonic & Blues over all the chords as those scales relate to all.

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

Try G 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:

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

G Major Pentatonic is the same as E Minor Pentatonic. G major and E minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play E Minor Pentatonic scales, but start on and emphasize the G notes and it will be G Major Pentatonic and have that sweet major happy sound.

By shifting those scales to the root, G, 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.

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.)

Try G 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. 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

Since Dorian is the second mode in any major key, to play G Dorian ask what major scales 2^nd note is a G note. The answer is F. F Major has the same notes as 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.)

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 for that killer Dorian tonality.

Also try mixing G Minor Pentatonic & Blues, G Major Pentatonic, and G 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 pattern there is not as much time on each chord as the other 12-bar patterns in this vault. But there is enough time on each chord to quickly treat each chord as a separate event. Just time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over the wrong chord.

Try moving Pentatonics over each chord. Over the G chord play G Minor Pentatonic & Blues or G Major Pentatonic. Over the C chord play C Minor Pentatonic & Blues or C Major Pentatonic. Over the D chord play D Minor Pentatonic & Blues or D Major Pentatonic

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 for each chord as that is a key interval in the mode, (1,2,b3,4,5,6,b7). Play G Dorian, (=F major), over the G chord. Play C Dorian, (=Bb major), over the C chord. Play D Dorian, (=C major) over the D chord. Time your changes and experiment and see what sounds you like over the chord changes. Rock it out and enjoy!

This jam is in the key of E and it’s a I-IV-V 12-Bar blues progression. E is the I chord, A is the IV chord, and B is the V chord. The turnaround is on the V chord, B. This is a very standard blues progression that you probably have heard many times. Know the sounds of these rhythms, as when you hear them it will automatically trigger certain soloing avenues.

The first thing to note about this jam is that it is a major I-IV-V blues progression. Even though the chords used are 5th chords, which only have roots and fifths, they are still considered major in this progression. They are embellished with the 6^th intervals. Soon you will get used to hearing these I-IV-V blues type progressions and will able to identify them immediately.

These very common blues progressions, shuffles, and swings will point you toward very definite lead guitar avenues. These are wide open for many different soloing options.

What Relates to all the chords:

There are many have avenues here so a lot will depend on your playing style and what type of mood or sound you want to create. Try some of these:

For that bluesy minor sound try E Minor Pentatonic & Blues over all the chords. Minor Pentatonic & Blues sounds great over major key blues progressions:

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

For that sweet major sound try E Major Pentatonic over all the chords. Remember that for any major key jam you can use Major Pentatonic over all the chords This will give you that sweet major bluesy sound that is quite different than the above minor sound:

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 and contain 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 and have that real major happy sweet sound.

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? 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 D notes to bring out that minor Dorian tonality.

Try mixing E Minor Pentatonic & Blues, E Major Pentatonic , as well as E Dorian over all the chords for some killer sounds. Notice how going back and forth from the five note pentatonics to the seven note diatonic scales can be quite refreshing.

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.

Try moving Minor Pentatonic & Blues over each chord. Play E Minor Pentatonic & Blues over the E chord and then try A Minor Pentatonic & Blues over the A chord, and then B Minor Pentatonic & Blues over the B chord.

Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord, and then try A Major Pentatonic over the A chord and B Major Pentatonic over the B chord.

Try mixing up the above Minor Pentatonic and Major Pentatonic over each chord. This is a very cool technique that many blues players like BB King often utilize.

Play E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try Major Pentatonic over the B 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 Minor Pentatonic & Blues over the B chord. Try it out and get creative with it!

Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th and b7th off the E and A chords, Dorian again is a perfect choice as those intervals are in the Dorian mode, (1,2,b3,4,5,6,b7).

Play E Dorian, (=D major), over the E chord, A Dorian, (=G major), over the A chord and B Dorian, (=A major), over the B chord.  Get creative and get lost in the track!