David Taub, Author at Next Level Guitar Lessons

18. A Shuffle Blues Jam Track- Key of A. Chords are A7-D7-E7

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^thinterval:

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.

2. Bm11 Asus2 Atmospheric Jam Track– Key of B minor. Chords are Bm11 – Asus2

This track features a very dark and atmospheric slow two-chord change. Not a lot of chord movement in this jam, which leans toward melodic and expressive playing over each chord. When soloing, leave lots of space and really work the notes and be expressive.

What relates to all:

Since we are in minor key we can utilize B Minor Pentatonic & Blues scales over both chords.

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

(see all the scales diagrammed out in the written lessons section of this series)

Furthermore, we 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.

Treat each chord as a separate event:

Over the Bm11 chord try some B minor type arpeggios and over the Asus2 chord try some A major type arpeggios.
Also over JUST the B minor chord you can play B Dorian. The Dorian mode 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 B Dorian in this jam we have to ask what major scales 2^nd note is a B note. The answer is A. A Major has the same notes as B Dorian:

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

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

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

Try playing A major scales but start on and emphasize the B notes and you will be playing in B Dorian. Give it a try and get creative with these modal techniques!

You can also try some A major pentatonic and A major triads over the A chord.

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

Just remember that when treating each chord as a separate event you have to be very aware when the chord change so you can change scales appropriately. Don’t get caught playing the wrong scale or arpeggio over the wrong chord as often that may not sound very good.
Mix them all up, combine, vary, be melodic, and get creative with them. Remember…..it’s all about the sounds and moods you want to create and what sounds best to your ears. So go for it and swing for the fences!

3. Joe Satriani inspired atmospheric style jam track

This is a very atmospheric jam track in the style of Joe Satriani. This track is basically just an E droning chord. I designed this track as a practice tool to be utilized in learning and exploring the sounds and moods that can be created by utilizing various scales and modes. This track is wide open so there are a TON of different soloing and improvisational avenues to explore.

Often in jamming and modal playing there is lots of room for improvisation and creativity. You have to use your discretion and determine what sounds best to your ears. You want to consider what sounds and moods that you like best and the emotions that you want to create with your music. This track is a perfect practice tool to explore options and really stretch out.

Remember, its all about the sounds and moods that you can create, so be sure and listen carefully to each scale or mode as you play them over this track. Learn to explore these sounds and find out what scales and modes you like best over certain chords.

Try playing these over the E drone Jam Track:

E Lydian – The Lydian Mode is a seven-note scale often used in jazz and rock. Lydian is a major mode and is always the 4th mode in any major key. Lydian is very similar to a major scale, (Ionian Mode), except it has a #4 degree:

Lydian Mode = 1, 2, 3, #4, 5, 6, 7

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

That one note alteration gives the Lydian Mode a very pretty, emotive mood, almost mesmerizing. Lydian is not as commonly utilized as Ionian, but it does bring hip tension with that sharp fourth interval. Simply raise the 4th degree of any major scale a half step, and you have Lydian.

Play this mode over maj7, maj9, maj6, and maj6/9 chords when treating each chord as a “separate event”. Also try it over Lydian modal chord progressions, power chords and major triads. Lydian also sounds great over rock ballads.

Lydian always is the 4th mode in any major key. To play in E Lydian ask yourself what major scale’s fourth note is an E note? The answer is B. The fourth note of a B major scale is an E note.

Start on the fourth note in a B major scale and play from the E note to the next E note and you have E Lydian. As you can see below, B major and E Lydian are both constructed from the same notes:

E Lydian Mode = E, F#, G#, A#, B, C#, Eb

B Major – B, C#, Eb, E, F#, G#, A#

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

Start on the fourth note of a B major scale and play from the E note to the next E note and that produces E Lydian. B major and E Lydian consist of the same notes. Play B major scales but start on and emphasize the E notes for E Lydian. 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.

You can also try straight E Major scales over the track, but personally I like the more mysterious mood that E Lydian brings to the table. But try both and see what you like best.

Pentatonic Scales – if you rather utilize Pentatonic scales try B Major Pentatonic, which is the same as G# Minor Pentatonic, (major and relative minor). This will still produce a Lydian mood as all the notes in B Major Pentatonic are also in E Lydian:

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

G# Minor Pentatonic = G#, B, C#, Eb, F#

E Lydian Mode = E, F#, G#, A#, B, C#, Eb

(The notes in the above Pentatonic scales are also in the Lydian Mode)

You can also try E Minor Pentatonic and see how you like the more minor sounds over the track:

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

Also try E Major Pentatonic as you may like those sweet, major sounds.

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

E Phrygian – The Phrygian Mode produces a very distinctive dark, exotic, Spanish type of sound. Often it’s called the Spanish Minor Scale. Phrygian is a minor mode and is always the 3rd mode in any major key.

Often you will hear the Phrygian mode played in hard rock, metal, fusion, and flamenco guitar. You may not hear this mode utilized as often as Aeolian or Dorian, but it is super fun to experiment with and enjoy producing some exotic tones.

You can try this mode over minor chords, but it can sound a tad exotic, some may say dissonant. But certainly try it and see how it sounds to your ears. Often it’s the mode of choice when you see a b2 chord, or a m7 chord, minor triad, or over power chords.

Phrygian has only one note different than the Aeolian. Phrygian has a flatted 2nd, (b2), while Aeolian has a natural 2^nd note:

Phrygian Mode = 1, b2, b3, 4, 5, b6, b7

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

Try playing E Phrygian over the E drone jam track. Remember that Phrygian is always the 3rd mode in any major key. To play in E Phrygian ask what major scale’s third note is an E note? The answer is C. The third note of a C Major scale is an E note. Play C Major scales over the track but emphasize the E notes for E Phrygian. C Major and E Phrygian consist of the same notes.

E Phrygian – E, F, G, A, B, C, D

C Major scale – C, D, E, F, G, A, B

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

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. Refer to the written lessons in this series to learn more about modal playing.

E Phrygian Dominant – Phrygian Dominant sounds awesome when played over a long lingering major chord. This mode is the 5th mode of the Harmonic Minor scale. Phrygian Dominant is more a major mode and has a very distinctive sound.

Phrygian Dominant is also called the Spanish Phrygian Scale. It’s like a major version of the Phrygian mode. Phrygian has a minor 3rd, while Phrygian Dominant has a major 3rd – all the other notes are the same:

Phrygian Dominant – 1, b2, 3, 4, 5, b6, b7

Phrygian – 1, b2, b3, 4, 5, b6, b7

Get to Phrygian Dominant by going through the Harmonic Minor scale. Phrygian Dominant is always the 5th mode of the Harmonic Minor Scale. So to play in E Phrygian Dominant you want to determine what Harmonic Minor scale’s 5th note is an E note. The answer is A.

Play A Harmonic minor but start on and emphasize the E notes for E Phrygian Dominant. Keep going back to and landing on those E notes to emphasize E Phrygian Dominant. For more info and scale links and shapes on Harmonic Minor please see the written lesson section in this series.

Mix and combine modes and scales – mix together all the above. There is no rule that states you have to stay in one mode or just use one scale. Mix it up and come up with all kinds of creative ideas. This track is so wide open there are limitless opportunities. So be sure and explore them all and have fun while doing it. Stay positive, and keep on rocking!

4. Bm Groovy Jam Track- Key of B minor. The chords are Bm7, Em7, G9, and F#7#9

This progression is slightly different than a standard 12-bar progression. In this track you double up on the turnaround. So it has four extra bars making it a 16-bar progression. Listen carefully to the track and you will hear that repeating turnaround. Adds a bit of interest and a cool rest.

What relates to all:

Since we are in minor key we can play B Minor Pentatonic & Blues scales over all the chords as that relates to all:

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

If we analyze the chords further 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 also “relate to all”. B Natural Minor is also called the B Aeolian Mode.

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

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.

For some real head turning unexpected licks try the half-whole diminished scale. This eight-note scale is also known as the symmetrical scale and is a very commonly used scale in jazz guitar. Generally this scale is utilized often over dominant chords, but you can try it in other applications. Often that dissonant sound can be utilized to turn heads and to come up with some very outside the box sounding licks.

Half-Whole Diminished Scale = 1, b2, b3, 3, #4, 5, 6, b7

Notice that the interval pattern of the scale alternate between half steps and whole steps. This is why it’s called the half-whole diminished scale. It is also why it’s called the symmetrical scale, as the interval pattern of a half step followed by a whole step repeats throughout the scale.

Treat each chord as a separate event:

In this jam there is a lot of time on each chord so you can try many different soloing avenues over each chord. Remember that slow moving chords scream out for soloing over each chord independently.

Try switching Pentatonic scales or Natural Minor scales over each chord. Over the Bm7 chord try B Minor Pentatonic & Blues and B Natural Minor. Then over the Em7 chord try E Minor Pentatonic & Blues and E Natural Minor, and over the F#7#9 try F# Minor Pentatonic. Generally you can treat 7#9 chords as minor chords when considering soloing options.
Over the G9 chord try G Mixolydian, (same as C Major). Mixolydian mode is a great mode for playing over dominant 7^th and 9^th chords. 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 G Mixolydian over the G9 chord ask what major scale’s fifth note is a G note. The answer is C. The fifth note of a C major scale is a G note. So play C Major scales over the G9 chord but emphasize the G notes for G Mixolydian. C Major and G Mixolydian consist of the same notes:

G Mixolydian Mode -G, A, B, C, D, E, F

C Major scale – C, D, E, F, G, A, B

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.

Try various arpeggios over each chord and then mixing them in with their respective scales.
Since Dorian works great over minor type chords you also can try B Dorian, (A major), over the Bm7 chord and E Dorian, (D major), over the Em7 chord.

Remember to listen for when the chords change and be sure to change scales or modes appropriately. Get lost in the track and have fun with it!

5. Spacey Jam Track in Em. Chords are Em – Am9

This track is a slower tempo atmospheric progression. The chords mainly switch between an Em voicing, (079980), and Am9, (x05500). There is one other change to a Cmaj7, (x32000), and then to an Em9/D, (x54000). This track has some cool chord voicings so be sure and play the rhythm and add these chords to your chord catalog. The key is E minor and the track is wide open for all kinds of soloing opportunities.

What relates to all:

Since we are in minor key we can consider using E Minor Pentatonic & Blues scales as one option over all the chords as that scale relates to all:

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

Furthermore, we 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.

As we analyze the chords we see a minor iv chord, Am9. That points us to utilize E Natural Minor over all the chords. Remember our key point for minor key soloing – when playing over all the chords in minor key, what “relates to all”, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there is a major IV chord or a minor ii chord, in those cases use the Dorian Mode. For more on that read the “Minor Key Soloing” written lessons in the written lessons section of this series.

So try E Natural Minor, (Aeolian Mode), to exude a more sad, modern, darker 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. The relative major of E minor if G. E natural minor scales have the exact same notes as G major scales:

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

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

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

So if you know some major scales or just more familiar with major scales, play G major scales but start on and emphasize the E notes and it will then become E Natural Minor. This is the crux of playing in the modes of the major scale.

Also try both and mix E Minor Pentatonic & Blues with E Natural Minor, (E Aeolian mode). You can create killer sounds going between the five-note Pentatonic scale and the seven-note Natural Minor scale.

Treat each chord as a separate event:

The chords in this jam are moving fairly slow, which is perfect for treating each chord as a “separate event”. Remember, if the chords are flying by fast, you won’t have enough time to solo on each chord independently and you would be playing more of what “relates to all”.

Over the Em chord try E Minor Pentatonic & Blues scales, E Natural Minor, (same as G major), E Dorian, (same as D major), and E minor type arpeggios.
Over the Am9 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major), and A minor type arpeggios.
Over the Cmaj7 and Em9/D there isn’t a lot of time so you will have to be quick if you want to try to play over those chords independently. Try a major device over the Cmaj7 chord like a quick C Major Pentatonic lick or a Cmaj7 arpeggio. Try something from the E minor list above over the Em9/D chord. Remember to listen for the chord changes and change what you are utilizing as the chords change. Mix it up, get creative, and just go for it…..and enjoy the journey!

1. Pink Floyd/David Gilmour inspired E minor psychedelic jam track

This is a very atmospheric two-chord change. This is the type of jam in which melodic playing leaving lots of space works well. Try to come up with bursts of melodic licks that you can then repeat and vary throughout the track. Keep coming back to those licks as you can really grab the listener’s attention using melody and repetition. Always start your soloing process by listening to the track and deciding what types of sounds you want to create. Then analyze the chords to get the full soloing roadmap.

What relates to all:

Since we are in minor key we can instantly consider using Minor Pentatonic & Blues scales as one soloing option over all the chords:

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

When in minor key you can also usually play a minor mode over all the chords. The mode would be Aeolian or Dorian. When playing over all the chords in minor key, what relates to all, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there is a major IV chord or a minor ii chord, in those cases use the Dorian Mode. For more on minor key soloing strategies read the Minor Key Soloing written lessons in the written lessons section of this series.

When analyzing the chords in this jam there is a minor iv chord, Am9. That points us to utilize E Natural Minor over all the chords. Try E Natural Minor, (Aeolian Mode), to exude a more sad, modern, darker 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.

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

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

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

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

Treat each chord as a separate event:

In this jam the chords are moving slow with lots of time on each chord. This track is great for treating each chord as a separate event. Remember, if the chords are flying by fast, you won’t have enough time to solo on each chord independently and you would be playing what relates to all.

Over just the Em chord try E Minor Pentatonic & Blues scales, E Natural Minor, (same as G major), E Dorian, (same as D major), and E minor type arpeggios.
Over just the Bm chord try B Minor Pentatonic & Blues, B Natural Minor, (same as D major), B Dorian, (same as A major), and B minor type arpeggios.

2. Pink Floyd/David Gilmour trippy acoustic inspired rock jam track

In this jam there is lots of time on each chord as the changes are fairly slow. Listen to the track and get the rhythmic feel and vibe to determine the moods and textures that you wish to create.

What relates to all:

Since we are in minor key we can instantly consider utilizing A Minor Pentatonic & Blues as one soloing option over all the chords:

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

Remember in minor key a minor mode usually relates to all the chords. That minor mode is usually either Aeolian or Dorian. To determine which will work we have to analyze the chords and apply this minor key soloing rule:

When playing over all the chords in a minor key progression, what relates to all, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there is a major IV chord or a minor ii chord, in those cases then use the Dorian Mode.

When analyzing the chords in this jam we see that there is a major IV chord, D. So the mode we can use to solo over all the chords, what relates to all, is Dorian. The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key.

Since Dorian is the second mode in any major key, to play A Dorian in this jam we have to 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.)

Try playing G major scales but start on and emphasize the A notes and you will be playing in A Dorian.

Play your G major scales but focus and emphasize on the A notes for the cool minor sounds of A Dorian.

Treat each chord as a separate event:

In this jam the chords are moving fairly slow which is awesome for treating each chord as a separate event. Here are some suggestions to get you started:

Over just the Am chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major), and A minor type arpeggios.
Over just the D chord try D Major Pentatonic, (same as B Minor Pentatonic), and D major type triads and arpeggios.
Over just the F and E chords – there is very little time on these two chords but you can try and squeeze in an F Major Pentatonic lick over the F chord and E Major Pentatonic lick over the E chord. Or just stick with what relates to all and play A Minor Pentatonic or A Dorian over both chords. Experiment and see what sounds best to your ears.

3. Santana inspired Latin groove B minor rocker jam track

This Latin-rock inspired jam track is in the key of B minor and is a simple two-chord change. This is a very up-tempo, rhythmic progression with a killer groove. In this jam the chords are changing fast so you don’t have much time to solo on each chord independently. Because of this you will probably concentrate mainly on soloing with what relates to all.

What relates to all:

Since we are in minor key we can instantly consider utilizing B Minor Pentatonic & Blues as one soloing option. No matter which chord you are playing over, solo with B minor Pentatonic & Blues scales as those scales relate to all the chords.

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

(For more information on soloing with pentatonic scales please see the coinciding written lessons in this series – click on the links on the left of the main page).

In minor key a minor mode usually relates to all the chords. Since we are in minor key and there IS a major IV chord, (E), we can play Dorian over both 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 B Dorian in this jam we have to ask what major scales 2^nd note is a B note. The answer is A. A Major has the same notes as B Dorian:

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

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

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

Try playing A major scales but start on and emphasize the B notes and you will be playing in B Dorian.

Play your A major scales but focus and emphasize on the B notes for that cool minor Dorian sound. Keep coming back to those B notes and really establish that as the tonic center for B Dorian.

Try mixing B Dorian and B Minor Pentatonic & Blues scales over both chords for some killer sounds. Be creative and try to resolve your licks on strong chord tones to the root note, B.

Treat each chord as a separate event:

In this jam the chords are moving quickly so there is not a lot of time to solo over them independently. However, you can squeeze a few things in if you are quick. Here are a few suggestions:

Over just the Bm chord try B Minor Pentatonic & Blues, B Natural Minor, B Dorian, and B minor type triads and arpeggios (B natural minor = D major and B Dorian = A Major). So if you know your major scales try in those keys but focus and emphasize the root of the mode when playing over the B minor chord, the B notes.
Over just the E major chord try E Major Pentatonic and E major type triads and arpeggios. Emphasize the root of the mode when playing over the E major chord, the E notes.

You need to listen for the changes when treating each chord as a separate event. Be sure to get off as the chords change so you don’t get caught playing the wrong scale over the wrong chord. This technique takes time and patience to master. Chip away at a little each day and it will come with time. Put the track on and just get lost in it. Get creative, play what sounds best to your ears, and most of all…………HAVE FUN!

4. Joe Satriani inspired rocking jam track in G

This rocking jam track is in the key of G and follows a standard I-IV-V change using power/fifth chords.

Since we are using 5th chords the jam is pretty wide open. Fifth chords are made of just a root and fifth interval, no third. So with no major or minor 3rd there is no rub against major or minor sounding notes. Because of this there are many soloing options. You will want to go with what sounds best to your ears, try a bunch and see how they sound.

When a rock jam utilizes power 5th chords you can instantly consider utilizing Minor Pentatonic & Blues over all the chords as one soloing option. However, to get the complete soloing picture you have to analyze all the chords. It’s the chords that give the complete soloing roadmap.

On this track there is enough time on each chord to also treat each chord as a separate event. Remember, if the chords are flying by fast you don’t have enough time to solo on each chord independently. In those cases you would be playing more of what relates to all.

What Relates to all the chords:

This is a rock jam using power 5th chords in the key of G. So we instantly know G Minor Pentatonic & Blues scales works over all the chords. No matter which chord you are playing over, solo with G Minor Pentatonic & Blues scales as those scales relate to all the chords:

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

In rock jams, as well as in minor key, a minor mode usually relates to all the chords. For this jam you may like the sound of Natural Minor over all the chords. And/or you may like the sound of Dorian over all the chords. Both will work so try each and see what sounds best to your ears. There is only one note difference between Dorian and Aeolian – the 6^thnote:

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

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

The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor. Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark, and mournful sound that is different than minor pentatonic and Dorian. The Aeolian mode sounds great over minor chords.

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. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian.

Try G Natural Minor scales, G Aeolian = BbMajor.

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.)

Also Try G Dorian, = F Major.

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.)

The try mixing the above scales over all the chords for some killer sounds. Be creative and try to resolve your licks on strong chord tones. Put on the track and just get lost in it – experiment and get creative!

Treat each chord as a separate event:

Because this track is using all power/5^th chords it is wide open. For rock jams most will treat these chords as minor chords. That exudes that rock sound, the darker bluesy minor scales over the rock power chords. So for treating each chord as a separate event you can treat each as a stand alone minor chord to solo over the independently.
Over just the G5 chord try G Minor Pentatonic & Blues, G Aeolian (=Bb Major), and G Dorian (=F Major). You can also try to move pentatonic scales over the G5 chord. Try A Minor Pentatonic and D Minor Pentatonic. Also try some G minor type arpeggios and connect them in with the above scales.
Over just the C5 chord try C Minor Pentatonic & Blues, C Aeolian (=Eb Major), and C Dorian (=Bb Major).
Also try to move pentatonic scales over the C5 chord. Try D Minor Pentatonic and G Minor Pentatonic. Also try to add in some C minor type arpeggios.
Over just the D5 chord try D Minor Pentatonic & Blues, D Aeolian (=F Major), and D Dorian (=C Major).
Also try to move pentatonic scales over the D5 chord. Try E Minor Pentatonic and A Minor Pentatonic. Also try to add in some D minor type arpeggios.

For more information on Pentatonic scales, major scales, modal playing, and much more, see the coinciding written lessons section in this series.

5. Em – Csus2 Rocking Fun Jam – The key is E minor. Chords are Em-Csus2

This rocking track is a lot of fun to play over as it is very up-tempo and gets you grooving. There is lots of space in this track to solo while being expressive.

The key is E minor and it’s a two-chord change going from Em to Csus2. Remember that sus2 chords do not have thirds in them, (1,2,5), so technically they can be considered either major or minor so you can get creative with them.

What relates to all:

Since we are in minor key we can instantly consider utilizing E Minor Pentatonic & Blues as one soloing option over all the chords. In general pentatonic scales sound great over rock tracks.

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

Now let’s examine the chords to determine which minor mode we can solo over all the chords. Notice there is no major IV chord or minor ii chord so we can also utilize E Natural Minor, (same as G major), over all the chords.

Try E Natural Minor, (Aeolian Mode), to 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.

Aeolian is considered a minor mode and is always the 6th mode in any major key. Aeolian produces a sad, dark 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. The relative major of E minor if G. E Natural Minor scales have the exact same notes as G major scales:

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

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

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

So if you know some major scales or just more familiar with major scales, play G major scales but start on and emphasize the E notes and it will become E Natural Minor. This is the crux of playing in the modes of the major scale.

Also try mixing E Minor Pentatonic & Blues with E Natural Minor, (E Aeolian mode). You can create killer sounds going between the five-note pentatonic scale and the seven-note Natural Minor scale.

Treat each chord as a separate event :

Over the Em chord try E natural minor, (=G major), E Dorian, (=D major), and E Minor Pentatonic & Blues.
You can try a few major type devices over the C chord, but staying more in the tonality of E seems to work best. But try some C Major Pentatonic over the C chord and see how you like it.