David Taub, Author at Next Level Guitar Lessons

3. Cmaj7 Am7 Jam Track– Key of C major. The chords are Cmaj7 – Am7

This is a slower tempo jazzy two-chord progression. The track switches between a Cmaj7 chord and an Am7 chord. The key is C major so we are thinking major key, at least over the C major chord. Many of the previous jams are more rockers or minor key examples. So this offers up different soloing opportunities being in a major key.

What relates to all:

Since we are in a major key we can use C Major Pentatonic over both chords. Remember that when in major key you can usually solo overall the chords with Major Pentatonic:

C Major Pentatonic – C, D, E, G, A

Also try full C Major scales over both chords. This is a jam where major scales will sound quite good. Full major scales often sound great over slower or ballad type tracks that are very major sounding:

C Major – C, D, E, F, G, A, B

You have to use your discretion and listen to what sounds best to your ears. At times, full major scales can sound a bit stiff and sterile. However, in this jam you can use them to your advantage for killer licks. Try C major scales all over the neck and link them together. If you are not familiar with major scales or major scale links please see the written lessons in this series to see them all diagrammed out on paper – enjoy!

Treat each chord as a separate event:

There is a lot of exploring you can do as there is a lot time on each chord. Remember that slow moving changes and jams with lots of time on each chord lend itself very well to treating each chord as a separate event. Just be sure to feel when the changes occur and change your scale or mode appropriately over each chord.

Over the Cmaj7 chord try C Major scales, C Major Pentatonic, C Lydian, (G major), and C major type triads and arpeggios.
Over the Am7 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major), and A minor type triads and arpeggios.

16. C Half Step Rock Jam Track – Key of C. The chords are C5 – C#5, F5 – F#

This is an interesting rock jam where the power 5th chords move up a half step from C to C# and F to F#. You have a measure and a half on the C and F chords, and one measure on the C# and F# chords.

When analyzing the chords we see half steps. The C to C# and F to F# are I chords to a b2 chords. That b2 always points to check if the Phrygian mode will work. Listening to the progression, it has that distinct rock vibe and with the power 5th chords we know Minor Pentatonic & Blues will also work well.

What Relates to all the chords:

Try C Minor Pentatonic & Blues over all the chords. It’s a rock track that is not ballad or major sounding and uses power 5th chords so it tips us off that Minor Pentatonic will be one avenue. Just be wary that over the F# chord there can be a slight rub. But that chord comes and goes very fast so you have some leeway.

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

Treat each chord like a separate event:

Over the C5/C#5 play C Minor Pentatonic & Blues and C Phrygian. C Phrygian is a perfect modal avenue as the chords change from C to C# or I to a b2. That b2 tells us to check out Phrygian and it works great over the C5 and C#5 chords.
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 an 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 C Phrygian over the C5/C#5 change. Remember that Phrygian is always the 3rd mode in any major key. To play in C Phrygian ask what major scale’s third note is a C note? The answer is G#. The third note of a G# Major scale is a C note. Play G# major scales but start on and emphasize the C notes for C Phrygian. G# major and C Phrygian consist of the same notes.

C Phrygian – C, C#, Eb, F, G, G#, Bb

G# Major scale = G#, Bb, C, C#, Eb, F, G

(Same notes – just emphasize the root of the mode, 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. Refer to the written lessons in this series to learn more about modal playing.

Over the F5/F#5 play F Minor Pentatonic & Blues and F Phrygian. If we look at just the F to F# change as a separate event then just like in the previous change we see a I chord going to a b2. So Phrygian would be the mode to try.

By utilizing the same process as described above then F Phrygian = C#major. Play all your C# major scales but start on and emphasize the F notes.

Switch Pentatonics and play C Minor Pentatonic & Blues over the C chords and then when the change happens switch to F Minor Pentatonic & Blues over the F chords.

You can also switch modally and play C Phrygian over the C chords and when the change happens switch to F Phrygian over the F chords. This sounds amazing over this jam – give it a try!

1. Em9 A13 Jam- Key of E minor. Chords are Em9 – A13

This track is a funky, jazzy, two-chord vamp with lots of time on each chord. The progression switches back and forth between Em9 and A13. The key is E minor and there are a lot of fun soloing and improvisational avenues to try. There is a lot of atmosphere in the track so be sure and leave lots of space in your soloing. Remember, nobody likes the person that talks too much.

What relates to all:

As soon as the key of E minor is established we know we can utilize E minor pentatonic & blues over both chords as it “relates to all”:

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

We also know that when in minor key we can usually utilize Aeolian or Dorian 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.

As we analyze the chords in this minor key jam we see a major IV chord, A13. That points us to utilize E Dorian over all the chords. 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^thnote:

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 E Dorian in this jam we have to ask what major scales 2^nd note is an E note. The answer is D. D major has the same notes as E Dorian:

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

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

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

So to rock out in the jam utilizing E Dorian just play D major scales but focus and emphasize the E notes. Keep going back to those E notes and resolve licks to them. This exudes the mood for the Dorian Mode.

Try mixing E Minor Pentatonic and E Dorian together for some killer head turning licks. Going between the five note Pentatonic scale and then switching to the seven note Dorian scale creates some awesome sounds. Explore with both and have fun!

You can also use three Minor Pentatonic keys when you know that Dorian works in a minor key jam. This is a real fun technique to try and it always works when you know that Dorian works. You can use the Minor Pentatonic scale off the root, in this case E Minor Pentatonic. Also utilize the Minor Pentatonic scale up a 2nd, which would be F# Minor Pentatonic, (E to F#, is up a second). Also utilize the Minor Pentatonic Scale up a 5th, which would be B Minor Pentatonic, (E to B is up a fifth). All three of those pentatonics produce the Dorian sound as they add those two extra notes to the minor pentatonic scale making it Dorian. Try all three pentatonics over both chords and see which sound best to your ears:

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

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

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

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

(All the notes in the above three Pentatonics are in the Dorian Mode – NICE!)

Treat each chord as a separate event:

Over the Em9 chord try E Minor Pentatonic & Blues, E Natural Minor, and E Dorian. Remember that Aeolian and Dorian sound great over minor chords.
Over the A13 chord try A Major Pentatonic, A Mixolydian, and A dominant type arpeggios. Remember that Mixolydian sounds great over dominant chords.
Also try some arpeggios over each chord. Mix E minor, B minor, F# minor, as well as D and A major.

2. B Minor Jazzy Blues Jam Track– Key of B minor. Chords are Em7-A7-Dmaj7-Gmaj7-C#m7b5-F#7

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

What Relates to all the chords:

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

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

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

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

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

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

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

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

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

Play all your D Major scales but focus on and emphasize the B notes for B Natural Minor, (B Aeolian). Start on and resolve licks to the B notes as well as other strong chord tones within both chords.

Treat each chord as a separate event:

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

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