- Category: DD Head Turning Licks
- Instructor: David Taub
- Total Time: 10:42 min
- Please click below for digital video version:
11. Slash inspired fast foot to the floor rocker jam track
Chords are A, C, and D for the double-stops as well as an E chord for the change . The chorus section is D, A, and E chords, and a long vamp on an A chord
This is a fun rock jam that presents some very interesting solo avenues. Like a few other rock tracks in this vault even though the chords are mainly major we still suggest utilizing some minor devices for that rock feel. Plus with the long vamp on the A chord we can try A Harmonic Minor to exude some different exotic sounds.
Since we are in a rock type jam but want a more minor feel consider utilizing A Minor Pentatonic & Blues as one soloing option over the chords:
A Minor Pentatonic & Blues – A, C, D, Eb, E, G
We also want to analyze the chords and try a minor mode over the chords. The jam is in the key of A. At first I would consider Aeolian or Dorian. But when you analyze the chords the jam has a very prominent D chord movement. And that D chord has an F# note. That note is in A Dorian but in A Aeolian it’s an F natural note.
A Dorian = A, B, C, D, E, F#, G
A Aeolian = A, B, C, D, E, F, G
So my choice would be to utilize A Dorian for this jam. 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 2nd 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 A Dorian. Try it and see how you like the sounds. Combine it with Minor Pentatonic and go back and forth between the two.
On the long vamp on the A chord try blasting A Harmonic Minor over that chord. While there is only one major scale there are three types of minor scales, Natural minor (Aeolian Mode), Harmonic Minor, and Melodic Minor. The Harmonic Minor scale is a very exotic sounding scale that will add color and depth to your sound.
While you hear Harmonic Minor played often in neo-classical, metal, and shred guitar, the scale is also utilized in flamenco, East European, Middle Eastern, and Indian music, as well as mainstream rock, jazz, and even bluegrass music.
Harmonic Minor has a very distinctive tone, kind of Spanish or Middle Eastern sounding. It is a Natural Minor scale with a raised seventh. Natural minor has a flatted seventh while Harmonic minor has a natural 7th. Remember the keynote in the scale is that 7th, and it is always a half step behind the root note. The scale degrees are almost the same as Natural Minor except for the 7th:
Harmonic Minor – 1, 2, b3, 4, 5, b6, 7
Natural Minor – 1, 2, b3, 4, 5, b6, b7
So try A Harmonic Minor over the long vamping A chord and see how you like the exotic sound. For more info on Harmonic Minor please see the coinciding written lessons in this series.
A Harmonic Minor – A, B, C, D, E, F, G#
A Natural Minor – A, B, C, D, E, F, G
10. Open Rocker in E Jam Track– Key of E. The power/5th chords utilized are Bb, A, G, and Em
This jam track has various parts and the main rhythm is a low riff pointing to E minor tonality. The power/5th chords utilized are Bb, A, G, and Em. It has the chords ringing out on the Em and G chords. And finally the bridge section chords are B, C, and A
It’s a cool jam that allows different playing dynamics and intensity through the various parts of the jam. Being that it is a rocker and that the main riff points toward minor tonality you can explore various minor devices over the track.
Because it’s a rocker and utilizes a lot of power chords we can instantly consider using E Minor Pentatonic & Blues scales as one soloing option over all the chords:
E Minor Pentatonic & Blues = E, G, A, Bb, B, D
In this jam both Natural Minor and The Dorian modes sound good. So I suggest trying both and see which one you like the sound of best. The two are very similar modes and there is only one note difference between Dorian and Aeolian, the 6th interval:
Aeolian Mode = 1, 2, b3, 4, 5, b6, b7
Dorian Mode = 1, 2, b3, 4, 5, 6, b7
Try Natural Minor, (Aeolian Mode), to 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.
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 6th note interval as illustrated above.
Both Aeolian and Dorian scales sound great over minor chords. And, at times, you can also use both Aeolian and Dorian over all the chords in a minor key progression and in major key rock jams with power chords like this jam. So lets see how we can play both E Aeolian and E Dorian over this jam track.
If you are not familiar with Aeolian you can use the concept of major vs. relative minor to play major scales and just move the root. Every major key has a relative minor key that has exactly the same notes in it. You can use that to your advantage. The relative major of E minor is G major. E natural minor scales, (E Aeolian), have the exact same notes as G major scales:
E Aeolian = 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 Aeolian. This is the crux of playing in the modes, shifting emphasis to the root of the mode. In this case, to the E notes.
We can do a similar conversion to play in E Dorian. Dorian is always the 2nd mode in any major key. So to play in E Dorian we have to ask what major scales 2nd 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 try playing all your D Major scales but start on and emphasize the E notes and you will be playing in E Dorian. Keep resolving licks to those E notes to shift the tonal center of the D major scales to E. That will exude the minor sounds of the Dorian Mode.
Also try and mix Minor Pentatonic & the Modes listed above. You can create killer sounds going between five-note pentatonic scales and seven note diatonic scales. Get creative and try other avenues, as the power chord rockers are pretty wide open for creativity and improvisation. Enjoy and keep on rocking!
1. Slash style flangy dynamic rocker jam track in D
This is a fun jam track in the key of D that has a lot of dynamics. So you can really bring the playing intensity up with your soloing as the track changes intensity. There is also a lot of different soloing avenues to try over this jam.
With this jam you can get both major and minor tonalities utilizing Pentatonics. Technically this jam is in the key of D major. But because it’s a rock jam and there are power chords you can also treat it with minor devices if you want that dark minor bluesy vibe.
As with many rock styles Minor Pentatonic and Blues is one choice over all the chords. Many players go to minor pentatonic first as its one of the most common scales utilized in most musical genres.
D Minor Pentatonic & Blues – D, F, G, Ab, A, C
(See all the scales diagrammed out in the written lessons section of this series.)
For a sweeter and happier sound try D Major Pentatonic over all the chords. D Major Pentatonic is the same as B Minor Pentatonic. D Major and B Minor are relative major and minor and consist of the same notes:
D Major = D, E, F#, G, A, B, C#
B Natural Minor = B, C#, D, E, F#, G, A
If you tend to think more in terms of Minor Pentatonic or just know those shapes then play all your B Minor Pentatonic scales, but start on and emphasize the D notes and it will be D Major Pentatonic. By shifting those scales to the root, D, they take on that real major happy sweet sound as opposed to the darker, bluesy minor sound.
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.)
Remember that it all comes down to the sounds. What moods and textures that you want to create with the music. So try lots of soloing avenues and see what sounds best to your ears.
I also utilize the Dorian mode over all the chords in this track. You have to use your discretion as modal playing is all about the sounds and moods. I personally like the darker minor rock sounds over this jam so I suggest try soloing with D 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. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6th 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 D Dorian in this jam we have to ask what major scales 2nd note is a D note. The answer is C. C major has the same notes as D Dorian:
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.)
So try playing all your C Major scales but start on and emphasize the D notes and you will be playing in D Dorian. Give it a try and get creative. If you want to learn more about modal playing, major scales, and Dorian please see the coinciding written lessons in this series.
Try mixing D Minor Pentatonic & Blues as well as D Dorian over all the chords for some cool tones.
Cool sounds can be created by switching from the 5-note pentatonic scales to the 7-note Dorian scales. Also listen for the different sounds you can create with minor and major tonalities as well as mixing them together. Fun stuff, give it a try and keep on rocking!
1. Box groove in A Bass Jam Track – Key of A. The chords are A9, D9, and E9
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.
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 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 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!
1. Dm Synth Sounds Jam Track– Key of D minor. Variations of a Dm9 chord
This track is a very dark, atmospheric track featuring all synthesizer sounds. The track is just variations of a Dm9 chord. The key is D minor and since there is just one chord and no changes its wide open for creative soloing options.
This track is all about the sounds, textures, and what mood you want to create. Try to come up with melodic licks that can be repeated and varied. Leave lots of space and try to catch the vibe of the track.
Remember that with any mode or scale it’s not enough just to know the scale shape, you also have to know how to use the scale and apply it in a musical situation. Application is key, so keep studying the relationships between chords and scales and how they are applied musically.
- For soloing over this track with a bluesy sound try D Minor Pentatonic & Blues scales:
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)
- Key point for minor key soloing, and burn this one into your brain. 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 D Natural Minor, (Aeolian Mode), to 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. It 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, more on that in the written lessons section.
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 D minor is F major. D natural minor scales have the exact same notes as F major scales:
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)
So if you know some major scales or just more familiar with major scales, play F major scales but start on and emphasize the D notes and it will then become D Natural Minor. This is the crux of playing in the modes.
- Also try both and mix 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.
- The Dorian mode also sounds great over Minor chords. I prefer to use Aeolian, (Natural Minor) in this jam but try Dorian and see how it sounds to your ears. Remember it’s all about the sounds and moods that you want to create.
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 6th 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 D Dorian in this jam we have to ask what major scales 2nd note is a D note. The answer is C. C major has the same notes as D Dorian:
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.)
So try playing all your C Major scales but start on and emphasize the D notes and you will be playing in D Dorian. Give it a try and get creative!
There are no other chords in this track but variations of D minor. So you don’t have to worry about other chords and chord changes. As stated above try D Minor Pentatonic & Blues, D Natural Minor, (same as F Major), and D Dorian, (same as C Major). Also try D minor and F major type arpeggios. And remember when soloing modally to always emphasize the root of the mode, in this case, the D notes.
To learn more about the modes and modal playing be sure to read the written lessons on Modal Playing in the written lessons section of this series – fun stuff!
Now put on the track and just get lost in it – and remember………your playing is an evolution!
1. Gary Moore inspired slow melodic A minor jam track
Time Signature: 6/8 Chords are Am – Dm – G7 – Cmaj7 – Fmaj7 – Bm7b5 – E7 – Am
This very melodic slow blues track is in the key of A minor. This one has a little different feel as it is in 6/8 time. Count the beats like this: 1-2-3-4-5-6, 1-2-3-4-5-6. The track is a very pretty progression custom made for melodic, vocal like guitar soloing. Think melodic phrasing, bends, and vibrato.
Since we are in minor key we can instantly consider utilizing Minor Pentatonic & Blues as one soloing option. Remember that when soloing in minor key you can usually use Minor Pentatonic as one soloing option over all the chords as it relates to all.
To get the complete soloing picture you have to analyze the chords. The chords give the complete soloing roadmap. Get in the habit of always analyzing the chords.
On this slow blues track there is lot of time on each chord. This is a perfect track for treating each chord as a “separate event”. Remember, if the chords are flying by fast you don’t have enough time to solo on each chord independently. In those cases you would be playing more of what “relates to all”.
What Relates to all the chords:
Since we are in minor key we can utilize A Minor Pentatonic & Blues scales over all the chords. No matter which chord you are playing over, solo with A Minor Pentatonic & Blues as those scales relate to 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. Since we are in minor key and there is no major IV chord, (it’s a Dm iv chord in this jam), so we can play A Natural Minor scales, (A Aeolian mode), over all the chords.
Aeolian is the 6th mode of the major scale. So first we must determine the parent major scale for A Aeolian. Ask what major scales sixth note is an A note. The answer is C. The sixth note of a C major scale is an A note. Both these scales have exactly the same notes, A Aeolian = C Major:
A Natural Minor (A Aeolian) = 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 are not familiar with Natural Minor scales just play C major scales but start on and emphasize the A notes. By shifting emphasis to the root of the mode, A, you are now playing in A Aeolian and you get those dark, minor sounds.
Also try mixing both A Aeolian and A Minor Pentatonic & Blues scales over all the chords for some killer sounds. You can create killer sounds going between the five-note pentatonic scale and the seven-note Natural Minor scale. Be creative and try to resolve your licks on strong chord tones.
Treat each chord as a separate event:
Playing over each chord independently is more challenging than playing what “relates to all”. It requires listening for the chord movements and changing your scale as the chords change. It is challenging at first, but yields a more sophisticated sound.
Don’t worry if you are not familiar all the options listed below. Try what you are comfortable with at this point in your guitar journey and the other options can be attempted down the road. The chords change slowly on this jam track and slow changing chords provide great opportunity to treat each chord as a separate event. When treating each chord as a separate event be sure to switch tonal centers by emphasizing the root of the mode.
The chords in this jam track are: Am – Dm – G7 – Cmaj7 – Fmaj7 – Bm7b5 – E7 – Am
Over the Am chord:
- Try A Minor Pentatonic & Blues, (A,C,D,Eb,E,G). This is the scale of choice for most players. Minor pentatonic & blues scales sound great when played over minor type chords or in minor key progressions.
- Try A Natural Minor, (Aeolian Mode). A Aeolian = C major, (A,B,C,D,E,F,G). Play C major scales but emphasize the A notes for A Aeolian. Natural minor scales sound great when played over minor type chords.
- Try A Dorian, A Dorian = G major, (A,B,C,D,E,F#,G). Play G major scales but emphasize the A notes for A Dorian. Dorian sounds great when played over minor type chords.
- Play Am and Am7 arpeggios. Playing a Cmaj7 arpeggio adds the 2nd and b7th. Playing a F#m7b5 arpeggio takes it a step further and adds the 6th interval. Adding these notes will add color and tension to your lead lines. Experiment and get creative.
- Try Em Pentatonic, (E,G,A,B,D). This scale adds the 2nds or 9th, the B note. That note is a very pretty note which can add a lot of drama to your lead lines. Adding the minor pentatonic scale up a fifth from the root, A to E, produces this sound.
- Try Bm Pentatonic, (B,D,E,F#,A). This scale adds the 2nd, B, and the 6th, F#. This technique creates tension. Adding the minor pentatonic scale up a whole step from the root, A to B, yields this sound.
Over the Dm chord:
- Try D Minor Pentatonic & Blues, (D,F,G,Ab,A,C). Can’t go wrong with this scale choice, its very popular.
- Try D Natural Minor (Aeolian mode). D Aeolian = F major, (D,E,F,G,A,Bb,C). Play F major scales but emphasize the D notes for D Aeolian. Natural minor scales sound great when played over minor type chords.
- Try D Dorian, D Dorian = C major, (D,E,F,G,A,B,C). Play C major scales but emphasize the D notes for D Dorian. Dorian sounds great when played over minor type chords.
- Play Dm and Dm7 arpeggios, Fmaj7 arpeggio adds the 2nd and b7th intervals. Am7 arpeggio also adds the 11th interval.
- Try Em Pentatonic, (E,G,A,B,D). This scale adds the 2nd, E, and the 6th, B. Adding the minor pentatonic scale up a whole step from the root, D to E, yields this sound.
Over the G7 chord:
- Try G Major Pentatonic, (G,A,B,D,E). This is a common scale of choice to play over major type chords. You can think of it in terms of its relative minor pentatonic, E Minor Pentatonic as they have the same notes, E,G,A,B,D.
- Try G Mixolydian mode, (G,A,B,C,D,E,F). G Mixolydian = C major. Play C major scales but emphasize the G notes for G Mixolydian. Mixolydian is a common mode of choice to play over dominant 7th chords.
- Play G7 arpeggios and G major type arpeggios.
- Try G Minor Pentatonic – (G,Bb,C,D,F). Mixing in minor pentatonic over dominant 7th chords produces an interesting sound. You get the flat 3rd, Bb, alongside the major 3rd, B. In theory you would think this would be a clash. However, the minor vs. the major 3rd creates tension. Many blues players exploit this minor vs. major 3rd interval. Playing minor pentatonic over 7th chords produces this bluesy sound.
Over the Cmaj7 chord:
- Try C Lydian mode, (C,D,E,F#,G,A,B), C Lydian = G major, Lydian has a #4 and sounds pretty over major 7th chords.
- Try C Major scales (C,D,E,F,G,A,B) and C Major Pentatonic (C,D,E,G,A). Compare the sounds of the two over this track and see what sounds best to your ears.
- Play Cmaj7 arpeggio, C major type arpeggios, and F#m7b5 arpeggio which adds #4 and 6th.
- Play Em7 arpeggio which adds the 9th.
- Try B Minor Pentatonic (B,D,E,F#,A), which adds the #4, 6th, and 9th. Adding the minor pentatonic scale a half step below the root, C to B, yields this sound.
- Try E Minor Pentatonic, (E,G,A,B,D), which adds the 6th and 9th. Adding the minor pentatonic scale a third above root, C to E, yields this sound.
Over the Fmaj7 chord:
- Try F Lydian mode, F Lydian = C major, (F,G,A,B,C,D,E).
Lydian often sounds very pretty over major 7th chords. That sharp 4th interval in this mode is a very “hip” note in my opinion. - Try F Major scale, (F,G,A,Bb,C,D,E), and F Major Pentatonic, (F,G,A,C,D). Try both and see what you like best.
- Play Fmaj7 arpeggio, F major type arpeggios, Bm7b5 arpeggio which adds a #4 and 6th intervals.
- Play Am7 arpeggio which adds 9th.
That ninth interval adds a lot of drama. - Try E Minor Pentatonic, (E,G,A,B,D), which adds the #4, 6th, and 9th intervals.
- Try A Minor Pentatonic, (A,C,D,E,G), adds the 6th and 9th intervals.
Over the Bm7b5 chord:
- Try B Locrian mode, (B,C,D,E,F,G,A,B), B Locrian = C major. Locrian is often the mode of choice over m7b5 chords.
- Try E Minor Pentatonic, (E,G,A,B,D), which adds the 11th and b13th intervals.
- Try the B Blues scale but leave out the 5th, (B,D,E,F,A). The flat 5th, or F note, works but the natural 5th, or F#, would clash over the Bm7b5 chord.
- Play Bm7b5 arpeggio, Dm7 arpeggio which adds a b9, Fmaj7 arpeggio which adds a b9 and 11th, Em7 arpeggio which adds 11th and b13th.
Over the E7 chord:
- Try E Major Pentatonic – Same as C#m pentatonic, (E, F#,G#,B,C#).
- Try E Mixolydian mode – E Mixolydian = A major, (E,F#,G#,A,B,C#,D).
- Try E Minor Pentatonic – (E,G,A,B,D,). Mixing in minor pentatonic over dominant 7th chords yields an interesting bluesy sound as you get the flat 3rd minor note, G, alongside the major 3rd, G#.
- Try it and see how it sounds to your ears.
- Play E7 arpeggio, and E major type arpeggios.
Remember, the technique of treating each chord as a separate event will take some time to get proficient. Start off slow, be patient, and it will come with time and practice. Put the track on and just get lost in it. Don’t try and do too much, leave lots of space. Remember, it’s not just what you play, but also what you don’t play.
Be expressive, use lots of bends and vibrato. Milk the half and whole step bends and really work the notes. Get creative, play what sounds best to your ears, and most of all…..HAVE FUN!
2. Led Zeppelin/Jimmy Page inspired slow blues in D minor jam track
The chords are Dm7, Gm7, Am7, and A7#9 for the turnaround
This track is a standard minor key slow blues i-iv-v progression. The one-four-five is the meat and potatoes of blues rhythms.
What relates to all:
Since we are in minor key we can instantly consider utilizing D Minor Pentatonic & Blues as one soloing option over all the chords:
D Minor Pentatonic & Blues = D, F, G, Ab, A, C
Remember in minor key a minor mode also usually relates to all the chords. That minor mode is usually Aeolian or Dorian.
Since we are in minor key and there is no major IV chord, (it’s a Gm7 iv chord in this jam), we can play D Natural Minor scales or D Aeolian mode, (same as F major), over all the chords:
D Natural Minor, (D Aeolian Mode) = 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.)
So play F major scales over all the chords but start on and emphasize the D notes for D Aeolian. Resolve licks to the D notes and hang on some D notes at times to drive home the point that D is the root of the mode, the tonal center. That emphasis on the D notes will produce the Aeolian mode.
Treat each chord as a separate event:
On this track there is lot of time on each chord. That is a perfect scenario for treating each chord as a separate event. Listen closely for the changes and play through the rhythm a few times to get a feel for when the changes happen.
- Over the Dm7 chord try D Minor Pentatonic & Blues, D Natural Minor, (same as F major), D Dorian, (same as C major). For arpeggios try Dm, Dm7, Fmaj7, and Fm7b5. Also try Am Pentatonic and Em Pentatonic over the Dm7 chord.
- Over the Gm7 chord try G Minor Pentatonic & Blues, G Natural Minor, (same as Bb major), G Dorian, (same as F major). For arpeggios try Gm, Gm7, Bbmaj7, and Am7. Also try Am Pentatonic over the Gm7 chord.
- Over the Am7 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major). For arpeggios try Am, Am7, Bbmaj7. Also try Bm Pentatonic over the Am7 chord.
- Over the A7#9 turnaround, treat that chord like a minor chord. So all the above A minor devices will work. In general treat most 7#9 chords like minor chords for that bluesy rock sound.
3. Am Slow Mellow Jam Track – Key of A minor. Chords are Am-Dm-Em
This is a repeating three-chord change in minor key. Most of the time is spent on the Am chord as the Dm and Em change is pretty quick. So for this jam you will probably be playing more of what relates to all. Remember that when the chords are moving quickly there is not much time to treat each chord as a separate event.
What Relates to all the chords:
Since the key is A minor we immediately know that A Minor Pentatonic & Blues scales will work over all the chords. Can’t go wrong with that scale as it is probably the scale of choice for most players.
A Minor Pentatonic & Blues = A, C, D, Eb, E, G
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.
So the iv chord in this jam is minor, Dm. This points us to solo over all the chords with A Natural Minor, (Aeolian Mode). 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 both and mix A Minor Pentatonic & Blues with A Natural Minor, (A Aeolian mode). You can create killer sounds going between the five-note pentatonic scale and the seven note minor scale.
4. G major Ballad Jam Track– Key of G major. Chords are G-D-Em-C
This is a very major sounding ballad in the key of G major. Since it is so major sounding we know that minor pentatonic and blues will probably not work over all the chords. We have to seek out other soloing options that gel with the major feel of the jam. However, we can use Minor Pentatonic & Blues over just that one minor chord, Em, individually. So don’t throw Minor Pentatonic out the window as yet.
What Relates to all the chords:
Try G Major Pentatonic over all the chords. For any major key jam you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam:
Major Pentatonic = 1, 2, 3, 5, 6
G Major Pentatonic is the same as E Minor Pentatonic. G Major and E Minor are relative major and minor and consist of the same notes:
G major = G, A, B, C, D, E, F#
E Natural Minor = E, F#, G, A, B, C, D,
(Same notes – just emphasize the root of the mode, G)
If you think more in terms of Minor Pentatonic or just know those shapes then play all your E Minor Pentatonic scales, but start on and emphasize the G notes and it will be G Major Pentatonic. This will yield that real major happy sweet major sound as opposed to the darker, bluesy, minor sound.
Try playing full G Major Scales over all the chords. Full major scales in a major sounding ballad jam usually sound awesome. At first, emphasize and resolve to the G notes, then for a bolder solo statement try landing on the chord tones of each individual chord as the chords change.
Major is also called the “Ionian” mode and the relative Minor of G major is E minor. So if you know your Natural Minor scales play all your E Natural Minor scales over all the chords but emphasize the G notes to make it sound major.
Treat each chord like a separate event:
In this jam the there is a full measure on each chord. This lends well to treating each chord as a separate event. Try mixing it up with these suggestions.
Over the G chord play G Major Pentatonic, G major scales, and G major arpeggios. Some like the sound of the Lydian mode over major chords but I prefer using the Lydian mode over major7 chords. In this jam G Lydian over the G major chord yields the sharp 4th, (#4), of the Lydian mode. This sticks out and you need to check that one out for yourself to see if you feel it’s a pleasing note to your ear.
Lydian is the fourth mode of the major scale. So to play in G Lydian you have to ask what major scales 4th note is a G note. The answer is D. The fourth note of a D major scale is G. So play D major scales but start on and emphasize the G notes for G Lydian, G Lydian=D major:
G Lydian = G, A, B, C#, D, E, F#
D Major = D, E, F#, G, A, B, C#
(Same notes – just emphasize the root of the mode, G.)
- Over the D chord play D Major Pentatonic, D major scales, D major type arpeggios.
- Over the Em chord play E Minor Pentatonic, E Aeolian, E Dorian, and E minor type arpeggios.
- Over the C chord play C Major Pentatonic, C major scales, and C major type arpeggios.