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!

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)

Here we have a gritty I-IV-V 12-bar blues rocker in the key of A. It has a real minor sound to it because the pull-off embellishing notes on each chord are the b3rd and b7th of each chord. So it has a minor feel even though the chords are 5th chords.

Like I always state, it is so important to analyze the chords to get the full solo opportunity roadmap. This is important because here it steers us more toward minor type soloing avenues. You can certainly try some Major Pentatonic avenues but to my ear the minor avenues sound better as the major is just a little too sweet sounding in this jam. But certainly experiment and see what sounds best to your ears.

What Relates to all the chords:

Try A Minor Pentatonic & Blues over all the chords. This would probably be the first choice for most blues players as the minor notes over the major type chords give that real bluesy sound and feeling.

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

Try A Dorian over all the chords. Dorian works great in I-IV-V major key blues jams. The Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both. Where Major Pentatonic may be a bit too sweet sounding in this jam, Dorian works great.

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 note:

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

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. So to play 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:

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.)

A Dorian is the same as G major, (A Dorian=G major). So play all your G major scales but start on and emphasize the A notes. Resolve to and focus on those A notes and you have A Dorian. Remember to keep going to back those A notes and make that the tonal center.

Also try mixing A Minor Pentatonic and A Dorian over all the chords. Notice the refreshing sounds going back and fourth between the five-note pentatonic scale and the seven-note Dorian mode.

Treat each chord like a separate event:

• This jam is a 12-bar blues so you have ample time on each chord to treat each chord as a separate event.
• 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 the Dorian mode over each chord. Play A Dorian, (=G major), over the A chord. Play D Dorian, (=C major), over the D chord. Play E Dorian, (=D major) over the E chord.

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!

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!

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

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,

Over the D7 chord try D Mixolydian (=G Major). Over the E9 chord try E Mixolydian (=A Major).

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

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

What Relates to all the chords:

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

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

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

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

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

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

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

Natural Minor, (Aeolian Mode), will exude a sad, modern, dark sound. The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor.

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

If you are not familiar with Natural Minor you can use the concept of major vs. relative minor to play major scales. Every major key has a relative minor key that has exactly the same notes in it. So you can use that to your advantage.

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

G Aeolian = Bb Major:

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

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

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

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

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

Treat each chord like a separate event:

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

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

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

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

Here 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.

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. This one has the slow change to IV chord.

Once you hear the common 12 bar progression and that very identifiable major key blues rhythm you know that the jam is wide open for soling opportunities. Which avenues you ultimately decide upon utilizing will depend on your playing style and what types of moods or sounds you want to create.

What Relates to all the chords:

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. Keep resolving back to those E notes to slam-dunk that major tonality:

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 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:

• 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 E Minor Pentatonic & Blues over the E chord.
• Play A Minor Pentatonic & Blues over the A chord. Play B Minor Pentatonic & Blues over the B chord.
• Try moving Major Pentatonic over each chord. Play E Major Pentatonic over the E chord. Play A Major Pentatonic over the A chord. Play B Major Pentatonic over the B chord.
• Try moving the Dorian mode over each chord. Play E Dorian, (=D major), over the E chord. Play A Dorian, (=G major), over the A chord. Play B Dorian, (=A major), over the B chord.

This track is what is called in the industry a “Train Beat”. It is in the key of G and it’s a 12-Bar blues I-IV-V slow change progression utilizing 7th chords. The chords are rolling by pretty fast, as it is an up-tempo groove. But you still have a little time on each chord to solo over them independently if you choose.

What Relates to all the chords:

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 going back and resolving to the G notes to bring out that 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. We can also explore the Mixolydian Mode, as you will want to throw that into the soup also, see below.

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