David Taub, Author at Next Level Guitar Lessons

18. Acoustic blues Bass Jam Track – Key of E. Chords are E7-A7-B7

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 acoustic jam is in the key of E and it’s a 12-Bar blues I-IV-V progression utilizing 7th chords. E7 is the I chord, A7 is the IV chord, and B7 is the V chord. Like many turnarounds, the turnaround here is on the V chord, B7. Since this is a major key I-IV-V blues progression it is wide open for many different soloing opportunities. Also, as soon as you hear 7th chords consider using Mixolydian mode over each chord.

What Relates to all the chords:

Many options in this jam as it’s a major key I-IV-V 12-bar blues so a lot will depend on your playing style and what type of mood or sound you will want to create.

Try E 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.

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

Try E 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

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. 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 sweet sounding E Major Pentatonic.

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.)

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 works great over major key I-IV-V blues, swing, 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 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.)

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 E notes to bring out that minor Dorian tonality.

Try mixing E Minor Pentatonic & Blues, E Major Pentatonic, and E Dorian over all the chords. Notice how going back and forth from the five-note pentatonics to the seven-note diatonic scales can be quite refreshing to the ear. Experiment and get creative!

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the E7 chord try E Minor Pentatonic & Blues or E Major Pentatonic. Over the A7 chord try A Minor Pentatonic & Blues or A Major Pentatonic. Over the B7 chord try B Minor Pentatonic & Blues or B Major Pentatonic.

Try Mixolydian mode over each chord. Mixolydian mode 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 E7 chord try E Mixolydian (=A Major). Over the A7 chord try A Mixolydian (=D Major). Over the B7 chord try B Mixolydian (=E Major).

Try Dorian mode over each chord. Even though Mixolydian mode would be the mode of choice in this jam, Dorian will also work and you may want to try it over each chord to see how it sounds to your ears. Dorian is considered more a minor mode but works over major key I-IV-V blues progressions, (1,2,b3,4,5,6,b7)

Play E Dorian, (=D major), over the E7 chord. Play A Dorian, (=G major), over the A7 chord. Play B Dorian, (=A major), over the B7 chord.

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

Try E Major Pentatonic over the E7 chord, then switch to E Minor Pentatonic & Blues over the A7 chord, then try E Major Pentatonic again when you get to the B7 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 B7 chord. Get creative and have fun trying all these various techniques and devices. Add the ones you like best to your playing arsenal and rock them out!

19. Shuffle in C Bass Jam Track – Key of C. Chords are C9-F9-G9

This is a major key I-IV-V blues jam in the key of C. The C chord is the I chord, F is the IV chord, and G is the V chord. This jam is what’s called a “slow change” to the IV chord. So you are staying on the I chord at first for four bars before it switches to the IV chord for two bars.

The first thing to note about this jam is that it is a major key I-IV-V blues progression, so it is wide open for soloing options. Soon you will get used to hearing these I-IV-V blues type shuffle progressions and will able to identify them immediately.

What Relates to all the chords:

There are many soloing avenues with major key I-IV-V blues progressions so a lot will depend on your playing style and what type of mood or sounds you want to create. Here are some suggestions to get you started.

For that minor bluesy sound try C Minor Pentatonic & Blues over all the chords. Since this is a major key I-IV-V blues progression Minor Pentatonic & Blues will give killer bluesy sounds and is probably the first choice for many players.

C Minor Pentatonic & Blues = C, Eb, F, Gb, G, Bb

For that sweet major bluesy sound try C Major Pentatonic over all the chords. Remember that for most major key jams you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam. This will give you that sweet major bluesy sound that is quite different than the above minor sound.

C Major Pentatonic – C, D, E, G, A

C Major Pentatonic is the same as A Minor Pentatonic. C major and A minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic and have that sweet major happy sound. You shift the tonal center of the A Minor Pentatonic scales to C by starting on, resolving to, and emphasizing the C notes, not the A notes.

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. 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.

C Major Pentatonic – C, D, E, G, A

A Minor Pentatonic – A, C, D, E, G

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

Try C Dorian over all the chords. Because we know that both major pentatonic & minor pentatonic will work we then know that the Dorian mode will also work. Remember Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swings, and shuffle progressions. The Dorian mode 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. Since Dorian is the second mode in any major key, to play C Dorian ask what major scales 2^nd note is a C note. The answer is Bb. Bb Major has the same notes as C Dorian:

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

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

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

C Dorian is the same as Bb major, (C Dorian=Bb major). So play all your Bb major scales but start on and emphasize the C notes for that killer Dorian tonality.

Also try mixing C Minor Pentatonic & Blues, C Major Pentatonic, and C Dorian over all the chords. Notice the cool differences between the major versus the minor and also the five note pentatonics versus the seven note diatonic scale. Cool stuff!

Treat each chord like a separate event:

With bluesy 12-bar progressions like in this jam you have a lot of time on each chord. This is fantastic 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. Be careful not to get caught on the wrong chord. Here are a few avenues to try that will get you started:

Try moving Minor Pentatonic & Blues over each chord. Play C Minor Pentatonic & Blues over the C chord.

Play F Minor Pentatonic & Blues over the F chord. Play G Minor Pentatonic & Blues over the G chord

Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, (C Major Pentatonic = A Minor Pentatonic). Play F Major Pentatonic over the F chord, (F Major Pentatonic = D Minor Pentatonic). Play G Major Pentatonic over the G chord, (G Major Pentatonic = E Minor Pentatonic).

Try mixing up the Minor Pentatonic and Major Pentatonic over each chord. This is a very cool device that many blues players like BB King often utilize. Get creative and experiment with this technique.

Play C Major Pentatonic over the C chord then switch to C Minor Pentatonic over the F chord. Then try C Major Pentatonic over the G 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 C Minor Pentatonic & Blues over the G chord. Try it out and see what sounds best to your ears.

Try moving the Mixolydian mode over each chord. Because the chords used in this jam are 9th chords, Mixolydian would be a great mode to utilize.

Whenever you see 7th or 9th chords you instantly want to think of Mixolydian mode as a possibility, 9th chord – 1,3,5,b7, 9. This is an incredibly useful mode, especially for blues and jazz playing.

Dominant 7th and 9th chords have a b7 in them so Mixolydian is a perfect modal choice as it is considered more a major mode and has that b7 interval in the mode:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th note instead of a natural 7th.

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Try this mode over dominant chords like 7th and 9th chords when treating each chord as a “separate event”. Mixolydian is the 5th mode in any major key. To determine the parent major scale for C Mixolydian, ask what major scales’ fifth note is a C. The answer is F. The 5th note of an F major scale is C. So to play C Mixolydian over the C9 chord just play all your F major scales but just start on and emphasize the C notes and its C Mixolydian. Follow the same formula for the F and G chords.

C Mixolydian = C, D, E, F, G, A, Bb

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

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

Play C Mixolydian, (= Fmajor), over the C9 chord. Play F Mixolydian, (= Bb major), over the F9 chord. Play G Mixolydian, (= C major), over the G9 chord.

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 shift emphasis to the root of the mode. Get creative, experiment, and rock on!

20. Mambo in A – Bass Jam Track – Key of A. Chords are A6-D7-E9

Here we have a Mambo groove in the key of A starting off with a cool A6th chord slide. Again it’s a 12-bar I-IV-V with a slow change to the IV chord. So it’s pretty wide open for soloing opportunities.

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.

Try A Minor Pentatonic & Blues 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. 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

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

A Major Pentatonic is the same as F# Minor Pentatonic. A Major and F# minor are relative major and minor. Play all you’re F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and have that sweet major sound.

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.)

Try A Dorian over all the chords. Dorian is considered more of a minor mode but 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 like a separate event:

Be sure to time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over a given chord.

Try moving Minor Pentatonic & Blues over each chord. Play A Minor Pentatonic & Blues over the A chord. Play D Minor Pentatonic & Blues over the D chord. Play E Minor Pentatonic & Blues over the E chord.

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

Try Mixolydian mode over the D7 and E9 chords. Mixolydian works great over 7th and 9th chords. You don’t have much time on each chord as they are moving by pretty fast, but you can sneak a cool lick in there quickly. Mixolydian works great over dominant chords like 7th and 9^th chords as they contain a b7th interval. That b7th interval is also a keynote in the Mixolydian mode:

7^th chord = 1, 3, 5, b7

9^th chord = 1, 3, 5, b7, 9

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 E9 chord try E Mixolydian (=A Major).

1. Gary Moore inspired medium blues in A Jam Track

This track is very interesting as theoretically its in the key is A minor. But it also leans toward being major sounding. The rhythmic riffs stand out more than the actual chords, which are more utilized as accents. The track is basically a i-iv-v blues progression. It’s pretty wide open so there is lots of soloing avenues to try as you can get creative with both A minor and A major devices.

What relates to all the chords:

With the progression sounding more minor key, you can utilize Minor Pentatonic & Blues over all the chords. A Minor Pentatonic & Blues scales work great over all the chords as those scale relates to all.

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Then as you analyze the chords notice there is a minor iv chord, Dm7. So this tells us that we can utilize Aeolian or Natural Minor over all the chords. Aeolian will exude a sad, modern, and dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark, and mournful sound that is different than Minor Pentatonic and Dorian. Aeolian adds melodic half steps and more lick and string bending avenues than Minor Pentatonic.

Natural Minor scales sound great over minor chords. And, at times, you can also use Natural Minor over all the chords in a minor key progression, like in this jam.

If you are not familiar with Natural Minor you can use the concept of major vs. relative minor and play major scales. Every major key has a relative minor key that has exactly the same notes in it. So you can use that to your advantage. The relative major of A minor is C major. A Natural Minor scales have the exact same notes as C Major scales:

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

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

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

So if you know some major scales or just more familiar with major scales, play C major scales but start on and emphasize the A notes and it will then become A Natural Minor. This is the crux of playing in the modes, to really focus on that tonal center, the root of the mode.

Also try mixing A Minor Pentatonic & Blues scales with A Natural Minor scales all over the neck. Repeat and vary your licks and remember to emphasize the A notes. At times, resolve your licks to the A notes and also try landing on strong chord tones as the chords change.

You can also try some A Major Pentatonic licks. This will exude a more sweet major sound as opposed to the darker bluesy minor pentatonic sounds. Try A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

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

Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound. The jam is wide open so there is lots of room for interpretation. Often you will need to use your discretion and this is one jam where many soloing avenues will work together so get creative and have fun!

Treat each chord as a separate event:

Try switching pentatonic scales or natural minor scales over each chord. Over the Am7 chord try A Minor Pentatonic & Blues and A Natural Minor. Over the Dm7 chord try D Minor Pentatonic & Blues and D Natural Minor. Over the Em7 chord try E Minor Pentatonic & Blues and also E Natural Minor.
Over the E7#9 try E Minor Pentatonic & Blues. You can treat 7#9 chords as minor chords when considering soloing options.
Try various arpeggios and then mixing them in with their respective scales. Remember that good arpeggio playing mixes arpeggios in with scales and licks.

Since Dorian works great over minor type chords you can try A Dorian over the Am7 chord, D Dorian over the Dm7 chord, and E Dorian over the Em7 chord. Remember there isn’t a lot of time on the turnaround chords so you have to get on and off them quickly. You don’t want to get caught playing the wrong scale over the wrong chord so be sure to listen for the changes and change scales appropriately.

2. BB King inspired bluesy Thrill Is Gone inspired jam track

This is a minor key blues jam in the key of B minor. This is not the easily identifiable major key standard 12-bar I-IV-V blues pattern that you have heard so many times in the past. So we have to analyze the chords further and think more in minor key terms for this track.

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 improvisational avenues wisely. As always, pay close attention to the chord changes. You can try B Minor Pentatonic & Blues over all the chords, except the F# major chord. Or rather you want to be extra careful around that F# major chord. Remember when soloing in minor key where there is a V major can be challenging for utilizing Minor Pentatonic as it can rub over that V major chord.

So whether we are playing over the Gm7, Cm7, or Eb chords, play B Minor Pentatonic & Blues scales. This would be the scale of choice for most players when playing what relates to all, or almost all in this case.

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

The F# 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 F# major chord is made of the notes F#, C#, and Bb. So the chord really wants to resolve to that Bb note, not necessarily the B note, which is the tonality we are playing in with B Minor Pentatonic. So you have to be careful on that chord.

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

Try B Aeolian, (B Natural Minor), over all the chords. In minor key a minor mode usually will relate to all. Since we are in a minor key jam and when analyzing the chords the iv chord is minor, (Em7), this tells us we can play B Aeolian mode, (B Natural Minor), over all the chords. Try B Natural Minor scales over the chords as those scales “relate 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.

Try mixing both B Aeolian and B Minor Pentatonic & Blues over all the chords for some killer sounds. You can create killer sounds going between the five-note pentatonic scales and the seven-note diatonic scales.

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 for treating each chord as a separate event.

Over just the Bm7 chord try B Minor Pentatonic & Blues, B Aeolian, B Dorian, or B minor type arpeggios.
Over just the Em7 chord try E Minor Pentatonic & Blues, E Aeolian, E Dorian or E minor type arpeggios.
Over the G chord try some G major licks or a G major arpeggio.
Over the F# chord try some F# major licks or an F# major arpeggio, or B 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.

Remember that you don’t have a lot of time on the G and F# 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. Time you changes by listening to the track and hearing and feeling when the changes are happening. Always get the rhythm in your head and play for the song.

3. E Walking Blues Jam Track – Key of E. Chords are E5-A5-B5

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.

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!

4. C 12-Bar Blues Jam Track – Key of C. Chords are C – F – G

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

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

What Relates to all the chords:

Try C Minor Pentatonic & Blues over all the chords. Since this is a major I-IV-V blues progression Minor Pentatonic & Blues will give killer bluesy sounds and is probably the first choice for many players.

C Minor Pentatonic & Blues = C, Eb, F, Gb, G, Bb

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

Major Pentatonic relates to all in this jam.

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

By shifting those scales to the root, C, they take on that real major happy sweet sound as opposed to the darker, bluesy minor sound.
And we want that sweet major sound for this jam. Remember that it all comes down to the sounds, moods, and textures that you want to create with the music.

C Major Pentatonic – C, D, E, G, A

A Minor Pentatonic – A, C, D, E, G

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

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

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

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

C Dorian is the same as Bb major, (C Dorian=Bb major). So play all your Bb major scales but start on and emphasize the C notes for that killer Dorian tonality.

Also try mixing C Minor Pentatonic & Blues, Major Pentatonic, and C Dorian over all the chords. Notice the cool differences between the major versus the minor and also the five note pentatonics versus the seven note diatonic scale. Cool stuff!

Treat each chord like a separate event:

With this 12-bar blues jam there is enough time on each chord to treat each chord as a separate event. Be sure to time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over a given chord.
Try moving Minor Pentatonic & Blues over each chord. Play C Minor Pentatonic & Blues over the C chord, F Minor Pentatonic & Blues over the F chord, and G Minor Pentatonic & Blues over the G chord.
Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, F Major Pentatonic over the F chord, and G Major Pentatonic over the G chord.
Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice as that is a key interval is in the mode:

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

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

5. B Minor Blues Jam Track – Key of B minor. The chords are Bm-Em-F#m

Here we have a cool bluesy minor key jam. It’s a minor key i-iv-v 12-bar blues. With 12-bar progressions you have a lot of time on each chord. This is a perfect scenario for treating each chord as a separate event.

This jam is in the key of B minor using all minor chords, Bm-Em-F#m, and an F#7#9 chord used in the turnaround. Treat the 7#9 chord like a minor chord if soloing over just that chord.

What Relates to all the chords:

Try B Minor Pentatonic & Blues over all the chords. We instantly know since we are in minor key, with no major V chord, we can solo with Minor Pentatonic & Blues scales over all the chords. Those scales relate to all. So whether we are playing over the Bm chord, the Em chord, or the F#m chord we can play B minor Pentatonic & Blues scales all day long over all the chords.

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

Also, you can usually solo with a minor mode over all the chords when soloing in minor key. That mode is usually either Aeolian or Dorian and to find out which you have to analyze the chords.

If we analyze the chords we see that there is no major IV chord and no minor ii chord so we can also utilize B Natural Minor scales over both chords as those scales “relate 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.

Also try mixing both B Aeolian and B Minor Pentatonic & Blues over all the chords for some killer sounds. Go back and forth between both and notice the difference in sound between the five note minor pentatonic and the seven note Dorian.

Treat each chord like a separate event:

Over just the Bm chord try B Minor Pentatonic & Blues, B Aeolian, B Dorian, or B minor type arpeggios.
Over just the Em chord try E Minor Pentatonic & Blues, E Aeolian, E Dorian or E Minor type arpeggios.
Over just the F#m chord try F# Minor Pentatonic & Blues, F# Aeolian, F# Dorian or F# minor type arpeggios.

6. Bluesy Box Groove in A Jam Track – Key of A. The chords are A9, D9, and E9

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?

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.

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#

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!

7. G 12-Bar Blues Jam Track – Key of G. Chords are G-C-D

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!