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.

In this jam we have a very cool flat tire groove or what is also known as a Texas backbeat shuffle. It is a 12-Bar I-IV-V in the key of D major and utilizes 7th chords and a slow change to the IV chord.

From analyzing the chords and rhythm we know a bunch of things right off the bat. First we hear that its in major key and we also hear that very identifiable I-IV-V 12-Bar pattern. That tells us this jam is wide open for soloing and improvisational avenues. Next we hear 7th chords so we know that Mixolydian mode can be employed as well as many other soloing avenues.

What Relates to all the chords:

Try D Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords in a major key blues jam.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Major Pentatonic over all the chords for that sweet major sound. Remember that for most major key jams you can use Major Pentatonic over all the chords. This will give you that sweet major bluesy sound that is quite different than the minor sound:

Major Pentatonic = 1, 2, 3, 5, 6

D Major Pentatonic = D, E, F#, A, B

D Major Pentatonic is the same as B Minor Pentatonic. D Major and B Minor are relative major and minor. Play all your B Minor Pentatonic scales, but start on and emphasize the D notes and it will be D Major Pentatonic.

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.).

Try D Dorian over all the 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. 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 interval:

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 ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian. So play C major scales but start on and emphasize the D notes and you have D Dorian. If you want to learn more about modal playing, major scales, and Dorian please see the written lessons in this series.

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.)

Try mixing D Minor Pentatonic & Blues, D Major pentatonic, as well as D Dorian over all the chords for some cool tones.
Cool sounds can be created by switching from the five-note pentatonic scales to the seven-note Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the G7 chord try G Minor Pentatonic & Blues or G Major Pentatonic. Over the A7 chord try A Minor Pentatonic & Blues or A Major Pentatonic.

Try Mixolydian mode over each chord: Mixolydian works great over 7th chords as there is that b7 in the 7th chords, (1,3,5,b7), as well as in the Mixolydian mode (1,2,3,4,5,6,b7) Mixolydian is often the mode of choice over dominant chords.

Mixolydian 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. 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

Over the D7 chord try D Mixolydian (=G Major). Over the G7 chord try G Mixolydian (=C Major). Over the A7 chord try A Mixolydian (=D Major).

Try mixing Minor Pentatonic and Major Pentatonic over each chord. Play D Major Pentatonic over the D7 chord, then switch to D Minor Pentatonic & Blues over the G7 chord, then try D Major Pentatonic over the A7 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up, maybe the next time around the progression try D Minor Pentatonic & Blues over the A7 chord instead of the Major, or maybe Dorian. Get creative and experiment with these techniques. Put your own spin on them and make them your own!

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 is a very major sounding ballad in the key of C major. Since it is so major sounding we know that Minor Pentatonic & Blues will 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 some of the minor chords individually, Em & Am.

By listening to the progression we have a full measure on each chord. So there is lots of time on each chord, which is great for treating each chord as a separate event. So this jam presents lots of soloing options. For more lessons on minor and major key soloing strategies and techniques please see the written lessons section of this series – enjoy!

What Relates to all the chords:

Try C Major Pentatonic over all the chords. For a 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 and consist of the same notes:

C Major = C, D, E, F, G, A, B

A Natural Minor = A, B, C, D, E, F, G

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

If you tend to think more in terms of Minor Pentatonic or just know those shapes then play all your A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic. 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 as its very major sounding.

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.)

Always remember that it all comes down to the sounds – what moods and textures that you want to create with the music.

Try full C Major scales. Full major scales in slower major sounding ballad jams work great. At first emphasize and resolve to the C notes. Then for a bolder solo statement try landing on the chord tones of each individual chords when the chords change.

Major is also called Ionian mode and the relative Minor of C major is A minor. So if you know your Natural Minor scales play all your A Natural Minor scales over all the chords but emphasize the C notes to make it sound major. The relative major and minor are constructed of the same notes:

C Major = C, D, E, F, G, A, B

A Natural Minor = A, B, C, D, E, F, G

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

Treat each chord like a separate event: The chords is this track change fairly slow. There is a full measure on each chord. So this lends to treating each chord as a separate event and soloing over each chord independently. Try mixing it up with these applications:

• Over the C major chord play C Major Pentatonic, C Major scales, and C major type arpeggios. Also, some like the sound of the Lydian mode over major chords but I prefer using the Lydian mode over major7 chords. In this jam C Lydian over the C major chord yields the sharp 4^th, (#4), of the Lydian mode. This notes can stick out and you need to check that one out for yourself to see if you feel it’s a pleasing note to your ear. C Lydian = G major.

C Lydian = C, D, E, F#, G, A, B

G major = G, A, B, C, D, E, F#

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

• Over the Em chord play E Minor Pentatonic & Blues, E Dorian, E Aeolian, and E minor type arpeggios.
• Over the Am chord play A Minor Pentatonic & Blues, A Aeolian, A Dorian, and A minor type arpeggios.
• Over the G chord play G Major Pentatonic, G Major scales, and G major type arpeggios.

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 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!

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 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!

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.

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.

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. 

Here we have a I-IV-V 12-bar blues shuffle feel featuring all 7th chords. Dominant 7th chords are very common in the blues. Remember that the formula for a 7th chord is 1,3,5,b7. It has the b7 or dominant 7th in it, very important for blues. Again you should hear that identifiable 12 bar I-IV-V pattern that alerts you to a wide-open jam. As well as soon as you hear 7th chords consider using Mixolydian mode over each chord.

What Relates to all the chords:

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. It just depends on what type of sounds you prefer or what you want to get across, minor bluesy or sweet major or both.

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.

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 6^th interval:

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 A Dorian ask what major scales 2^nd note is an A note. The answer is G. G major has the same notes as A Dorian. So play G major scales but start on and emphasize the A notes and you have A Dorian. If you want to learn more about modal playing and Dorian please see the written lessons in this series.

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 A7 chord try A Minor Pentatonic & Blues and A Major Pentatonic. Over just the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the E7 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 A7 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 A7 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 A7 chord try A Mixolydian, (same as D Major). Over the D7 chord try D Mixolydian, (same as G Major). Over the E7 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 A7 chord, then switch to A Minor Pentatonic & Blues over the D7 chord. Then try A Major Pentatonic again when you get to the E7 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 E7 chord instead of the major, or maybe Dorian. Get creative and have fun jamming with these tracks! And remember, your playing is an evolution.

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 is a killer jam track composed of all the chords within the key of B minor. It is a slow jam with 2 measures on each chord. There is lots of time to solo independently on each chord. As always, we need to analyze the chords as they give the complete road map for soloing options.

What Relates to all the chords:

• Since we are in minor key try B Minor Pentatonic & Blues over all the chords:

B Minor pentatonic & Blues – B, D, E, F, F#, A

• Try B Aeolian, (B Natural Minor) over all the chords. We are in minor key and we must look to see if there is a IV chord and/or a ii chord and if they are minor or major. Remember the rules of soling in minor key for playing over all the chords – you can always use Aeolian mode unless the IV chord is major or the ii chord is minor, then use Dorian mode.

The IV chord is minor, Em7 so Aeolian looks pretty good so far. But there is also a ii chord in this jam, C#m7b5. That seems like a minor chord but actually the m7b5 is also known as the “half diminished” chord. A half-diminished seventh chord is a seventh chord built from the seventh degree of a major scale. It’s considered “half-diminished” because a true diminished seventh has a double-flatted seventh, making it the same as a major sixth.

The half-diminished seventh chord uses a minor seventh over a diminished triad. It consists of the root, minor third, flatted fifth, and a dominant seventh. The minor seven flat five chord is found at the seventh degree of the major scale, and the second degree of the minor scale. Since it’s built off the seventh its more of a major family chord than minor family so we can utilize B Natural Minor, (B Aeolian), over all the chords. B Natural Minor scales over all the chords “relates to all”.

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

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 are two full measures on each chord and the chords move slowly. So there is lots of time on each chord to play over them independently. Try some of these over each chord:

• Over the Em7 chord try E Aeolian (=Gmajor), E Dorian (=Dmajor), E Minor Pentatonic & Blues, and Em, Em7, and Em9 arpeggios.
• Over the A7 chord try A Mixolydian mode, (remember that Mixolydian mode works great over 7th chords and A Mixolydian = D Major), also try A Major Pentatonic, and A Major and A7 arpeggios.
• Over the Dmaj7 chord try D Major Scales. Also try D Lydian, (=A major). D major and D Lydian differ by one note as Lydian has a #4 and many players prefer that that the natural 4th over maj7 chords. Also try D Major Pentatonic, and Dmaj7 arpeggios.
• Over the Gmaj7 chord try G Major Scales, G Lydian (=Dmajor), G Major Pentatonic, and G maj7 arpeggios.
• Over the C#m7b5 chord try C# Locrian (=D major). Locrian is the 7^th mode of the major scale and the mode of choice when playing over m7b5 chords. Also try C#m7b5 arpeggios.
• Over the F#7 chord try F# Mixolydian (=Bmajor), F# Major Pentatonic, and F# major and F#7 arpeggios.
• Over the Bm chord try B Aeolian (=D major), B Dorian (=A major), B Minor Pentatonic & Blues, and Bm, Bm7, and Bm9 arpeggios.

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.

Here we have a standard major key 12-bar blues progression known in the industry as a Grinder. It’s one of the more common rhythmic grooves that you will find in the blues. Lots of time on each chord and this groove is often played as it is here with 5th chords and embellished with 6th chords.

What Relates to all the chords:

Try D Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords in a major key blues jam.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Major Pentatonic over all the chords. Remember that for most major key jams you can use Major Pentatonic over all the chords. This will give you that sweet major bluesy sound that is quite different than the minor sound. Major Pentatonic takes its five notes from the Major Scale, just leaves out the 4^th and 7^th intervals:

Major Pentatonic = 1, 2, 3, 5, 6

Major Scale – 1, 2, 3, 4, 5, 6, 7

D Major Pentatonic = D, E, F#, A, B

D Major Pentatonic is the same as B Minor Pentatonic. D Major and B Minor are relative major and minor. Play all your B Minor Pentatonic scales, but start on and emphasize the D notes and it will be D Major Pentatonic and have that sweet major 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.).

Try D Dorian over all the chords. Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swing, and shuffle progressions. 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 6^th interval:

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, ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian. So play C major scales but start on and emphasize the D notes and you have D Dorian. If you want to learn more about modal playing and Dorian please see the written lessons in this series.

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.)

Try mixing D Minor Pentatonic & Blues, D Major Pentatonic, as well as D Dorian over all the chords for some cool tones. Killer sounds can be created by switching back and forth from the pentatonic scales to Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

Be sure to time your changes over each chord and listen closely 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 D Minor Pentatonic & Blues over the D chord. Play G Minor Pentatonic & Blues over the G chord. Play A Minor Pentatonic & Blues over the A chord.

Try moving Major Pentatonic over each chord. Play D Major Pentatonic over the D chord. Play G Major Pentatonic over the G chord. Play A Major Pentatonic over the A chord.

 Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with 6th chords, Dorian is a great choice as that is a key interval in the Dorian mode (1,2,b3,4,5,6,b7)

 Play D Dorian, (=C major), over the D chord. Play G Dorian, (=F major), over the G chord. Play A Dorian, (=G major), over the A chord.

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 jam track is in the key of G and it’s a 12-Bar blues I-IV-V slow change progression utilizing 7th chords. Two things should scream when you hear this jam. The first is that it is a major key I-IV-V blues jam and therefore wide open to all kinds of soloing opportunities. The other is that the chords are dominant 7^th chords so Mixolydian and Major pentatonic should be on your list of potential soloing devices.

What Relates to all the chords:

There are many soloing options in this jam as it’s a major key I-IV-V 12-bar blues. Which avenues you choose will depend on your playing style and what type of mood or sounds you want to create.

Try G Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic is often the first choice amongst blues players over I-IV-V blues progressions.

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

Try G Major Pentatonic over all the chords for that sweet major sound. G Major Pentatonic is the same as E Minor Pentatonic. G Major and E Minor are relative major and minor. Play all your E Minor Pentatonic scales all over the neck, but start on and emphasize the G notes and it will be sweet sounding G Major Pentatonic. Keep resolving back to those G notes to hammer home the major tonality.

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.)

Also try G Dorian over all the chords. Dorian works great over major key I-IV-V blues, swing, and shuffle progressions. In these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both major and minor.

Dorian is the 2nd mode of the major scale so ask what major scales’ 2nd note is a G note. The answer is F. An F majors scales 2^nd note is a G note. So 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 and you have 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.)

Try mixing G Minor Pentatonic, G Major Pentatonic, and G Dorian over all the chords. See what sounds you like best and experiment with all the above techniques and devices as well as come up with your own avenues.

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the G7 chord try G Minor Pentatonic & Blues or G Major Pentatonic. Over the C7 chord try C Minor Pentatonic & Blues or C Major Pentatonic. Over the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic.

Try Mixolydian mode over each chord. The Mixolydian mode works great over 7th chords as there is a b7th interval, (1,3,5,b7). There is also a b7th interval in the Mixolydian mode (1,2,3,4,5,6,b7). Mixolydian would be the mode of choice over the chords.

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

Over the G7 chord try G Mixolydian (=C Major). Over the C7 chord try C Mixolydian (=F Major). Over the D7 chord try D Mixolydian (=G Major)

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.

Here we have a slow blues jam in the key of E. This progression is a I-IV-V 12-Bar progression with a slow change to the IV chord. This is a slow tempo track so you have lots of time on each chord. This is perfect tempo wise if you to choose to solo by treating each chord as a separate event.

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. As soon as you hear these very identifiable blues progressions you know that they are wide open and you can go hog wild if you wish.

What Relates to all the chords:

For that minor bluesy sound try E Minor Pentatonic & Blues over all the chords:

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

For that sweet major sound try E Major Pentatonic over all the chords:

E Major Pentatonic = E, F#, G#, B, C#

Here is a little trick to make it easier to get to Major Pentatonic if you are not familiar. E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor so both are constructed from exactly 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. By focusing on those E notes it will exude those sweet, happy, major sounds.

Try E Dorian over all the chords. Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales 2nd note is an E note. 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.)

Try playing D major scales but start on and emphasize the E notes. Resolve to and focus on those E notes and you are playing in E Dorian.

Try mixing E Minor Pentatonic, E Major Pentatonic, and E Dorian over all the chords for some killer sounds. Experiment, explore, and keep trying new and interesting things on the instrument.

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. Here are a few avenues to try:

Try moving Minor Pentatonic & Blues scales over each chord. Play E Minor Pentatonic & Blues over the E chord and then play A Minor Pentatonic & Blues over the A chord and then B Minor Pentatonic & Blues over the B7 chord. Listen to how each pentatonic scale sounds as it outlines it’s corresponding chord.

Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord, and then play A Major Pentatonic over the A chord and then B Major Pentatonic over the B7 chord. Again, listen to the sounds of each scale and how they sound over each corresponding chord. It’s all about the sounds that you can create.

Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example try E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try E Major Pentatonic over the B7 chord. Listen to how well this technique outlines and implies the chord changes.

Try B Mixolydian over the B7 chord. Remember that Mixolydian is one of the modes of choice when soloing over 7th and 9th chords. Mixolydian is the 5th mode in any major scale. So to find the corresponding parent major scale for B Mixolydian ask what major scales 5th note is a B note. The answer is E, so B Mixolydian = E major:

B Mixolydian = B, C#, D#, E, F#, G#, A

E Major = E, F#, G#, A, B, C#, D#

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

Play E major scales and licks but start on and emphasize the B notes and you are now playing in B Mixolydian. Keep coming back to and resolving to those B notes while playing E major scales and you get the mood of B Mixolydian.