Because many blues progressions utilize I-IV-V chord changes you will often be utilizing Minor Pentatonic & Blues and/or Major Pentatonic as potential lead playing avenues. if the chord progression is in A minor, then you would choose A minor pentatonic/A minor blues/A natural minor scale), 3.) Step 3 – Recognize where the Chord Tones are Located Within Each Pentatonic Box. I’ve been playing in bands and studying the fretboard since I was 11. You can think of this scale as a pentatonic version of the Mixolydian mode, which has a formula of 1–2–3–4–5–6–b7. This is where you can get other modal scales, harmonic minor, etc without thinking about it specifically. The pentatonic scale is the most common scale used for playing rock lead because it sounds great over every chord change in a key, and you can begin to make music with it almost immediately. Depending on which of the four notes you pick, you will produce a different emotion. By targeting the specific chord tones contained in each chord we break out of the box of minor pentatonic playing and bring emotion, articulation and some great-sounding note choices to our blues guitar solos. Chord Tone Soloing – A Simple Method. All notes that are in the D7 chord are in the D dominant pentatonic as well. This lesson on chord tone soloing for blues guitar is one of my favorite ways to teach my students how to play licks and lines that make more sense than just going up and down a pentatonic or blues scale. It is sooooo addictive. Let’s look at how this happens and how to overcome these guitar playing barriers. Over the IV chord, you also have the choice to solo using the minor pentatonic that relates to the IV chord. In the near future, I will be adding a course that goes much deeper into this topic into the Lead Guitar Improv Member’s Vault. What I have been explaining now, is Chord Tone Targetting. Depending on whether the chord is major or minor would determine whether you use your index finger or your pinky finger to locate the box. Just transposing the minor pentatonic scale over the D chord is done by A LOT of beginner guitarists, but NO professional blues guitarist would ever dare to do this! Just as in improvising, or soloing, the pentatonic scale avoids problematic dissonance. That is the way a lot of guitarists approach the whole concept of “soloing over a chord progression”, and that’s completely fine! Using the major or minor pentatonic as a base and then hitting the chord tones of the current chord at the right times. Determine the key of the chord progression that you will be soloing over, 2.) When the chords change from C7 to D7, try going from F to F#, then play the D7 chord tones. These frustrations are shared by many guitar players around the world! Most guitarists are taught to play minor pentatonic or the flat 5 blues scale when soloing over a 1 4 5 blues progression. Scale shape and awareness of the minor pentatonic scale really goes a long way! A more advanced approach that comes closer to how great blues guitarists apply Chord Tone Soloing, is to use the D dominant pentatonic scale. If we were soloing over an E7 chord (E–G#–B–D), our Mixo-pentatonic scale would be E–G#–A–B–D (1–3–4–5–b7). Haha thanks so much Phil! For the first time, I have been able to lay out the entire fretboard by hand, starting with the root note on each string, then from there, knowing I’m in minor for instance, just fill in the pattern starting with each root note. When the chords change from C7 back to G7, try going from B♭ to B, then playing the G7 chord tones. And so on (Minor pentatonic is a bit different). Further on, I will elaborate on the correct approach and teach you how to apply it correctly. So let’s say there is a diatonic chord progression that you would like to solo over: These 4 chords are all found within the key of A major/F# minor. Most of these guitarists think they’re doing it the correct way, but actually they only use a very basic method of soloing. In addition to everything else that is included with a Full Access Membership, many lessons include “Full Access Extras”. How Your Blues Guitar Frustrations Are Tied To a Very Limited View of How Blues Scales And Chords Work. 1:31 – Intro to the “One Pentatonic per Chord” Approach Steal from the best and all that… Chord Tone soloing does not restrict you to play "inside" the track: you can choose to deliberately violate it to sound "outside" like some Jazz players do. I could not put my ax down! Step 4 – Finally, add in the Remaining Scale Notes from the F# Minor Scale, This is where the magic really happens. This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. am studing if now. And this is the D dominant pentatonic scale: Notice how all the notes in the chord are covered in this dominant pentatonic scale. That is what step 2 is for…, Step 2 – Start to Extend each Pentatonic Box into its’ Neighboring Positions. You could call this the “shortcut method” if you’d like, because it involves simply moving this basic pentatonic box around to different areas of the fretboard: By doing this, you will still remain 100% in-key (provided that the underlying chords in the progression are all part of just one key). Why? They have no clue why their guitar playing doesn’t even come close to that of the guitarists they admire; they are using the WRONG scales! Choose the appropriate scale based on the key (ie. Turned out to be a good way to tell your brain what notes are in whatever key you’re currently working on. F# minor pentatonic over the F# minor chord, A major pentatonic over the A major chord, E major pentatonic over the E major chord, D major pentatonic over the D major chord. Why not try both and see how it influences the tone? Why You Are You Stuck In A Rut With Your Blues Guitar Playing. We’ll call it the Mixo-pentatonic scale, but feel free to give it your own name. But there will be times where you want to sound more melodically and you want to hit the perfect note at the perfect time. While this "does the job" as far as creating that bluesy sound, there is a far more effective and expressive way of playing through blues … For example, here is a great Stevie Ray Vaughan lick you can use over the D7 chord:Listen to this sound exampleIf you’d like to know more about how great blues guitarists such as Stevie Ray Vaughan use the dominant pentatonic scale in their soloing you can download my FREE Guide on How To Play The Most Awesome Blues Licks Over Any Chord: Awesome Blues Licks. Chord tone soloing is a technique to make your solo sound "in" the backing track. Pentatonic position #1 can either be major or minor. Are you starting to see why beginner blues guitarists get stuck in their progress on the guitar? How Practicing Chord Tone Targetting Will Get You A Better Guitarist. to know them, but i shall. This is done by selecting a scale that works over the entire key and only playing its notes. The “method” could be divided into 4 steps: Step 1 – Apply the Basic “Pentatonic Box #1” to Each Chord. Let me break it down for you why this is.The A7 chord contains 4 notes, which we already looked at. I personally like to use the “upper extension” for each box as you can see here: By doing this, you are still “switching pentatonics” over each chord, but you are extending the range such that your playing sounds less jumpy. For the E major chord, you would locate the “box” with your pinky finger on the 12th fret, which is the note ‘E’. For example, if in the progression above the D7 chord is being played, a possible (but WRONG) solution would be to play some licks in the D minor pentatonic scale over this chord instead of staying in the A minor pentatonic all the way. These kinds of ideas form the basics of chord tone soloing. Any thoughts? It felt awesome to be able to play over a backing track, to create your own guitar solos and to express the way you felt by means of guitar playing. In this article we will talk about a few simple techniques to break through these limitations and take your blues guitar soloing to a whole new level. So for instance I know that in Major pentatonic position 1 I can find 3 versions of a triad while in Major pentatonic position 2 I have only two possiblilites to play a triad. Chord Tone Soloing for Jazz Guitar: Master Arpeggio-Based Jazz Bebop Soloing for Guitar: Alexander, Mr Joseph, Pettingale, Mr Tim: 9781789330588: Books - Amazon.ca If we were writing a song in C major, we could pick three chords: C – Dm – G – C Verses usually have melodies that are lower in pitch. Chord tone soloing is one of those things that either eludes guitarists, or they shy away from it in favor of the one-scale-fits-all approach. How To Tie Chords and Scales Together So That You Are Picking The Best Possible Notes Over Each Chord. Beginner’s Guide to Expanding the Pentatonic Scale, Creating 10 Different “Sounds” Within Pentatonic Position #1, 1 video backing track which uses the same chord progression as in the video, The video contains a full fretboard diagram displaying the key of F# minor with “moving pentatonics” as the chords change in the rhythm section, For a minor chord, you would locate the “pentatonic box” with your index finger, For a major chord, you would locate the “pentatonic box” with your pinky finger. Learn exactly how to master blues guitar with the. We can see why this works if we break down the scale and chord notes. About the author: Depending on when you are reading this, the course may or may not be live. The beauty of this method is that for every major chord, the chord tones of the underlying chord will always be found in the “G-Shape”, and for every minor chord they will be found in the “Em-Shape: Note that for the minor chord, I also included the 7th scale degree (the blue dot) to be a chord tone. I’m old af now and still at it! I was working on the triads and arpeggio coursed but man, this one started to connect the dots so to speak. You can see this for yourself below. The late, great B.B. Once you get used to this whole “one pentatonic box per chord” method, you can then realize that there are only 3 shapes that you will need to remember. Here’s what each pentatonic box would look like…. Triads with widely spaced voicings like this are great for giving a ‘bigger’ sound when you’re looking to fill harmonic space. In that case we raise the F note to an F# and also play the 9th, which is the E note. To clarify this, take a look at exactly how this wrong assumption looks on the fretboard of the guitar: By transposing, you would be tempted to believe that the notes in the scale you are playing (the D minor pentatonic scale) will sound much better over the D7 chord than the notes in the A minor pentatonic scale. 17:51 – Taking the “Soloing with Pentatonics” Concept even Further…. First off, let’s take a look at what a lot of beginner/intermediate guitarists think is the correct way of Chord Tone Soloing. Bravo Brian, we are spoilt by the quality and fantastic content included within your lessons. There are three ways to play the pentatonic scale pattern for lead guitar solo: A progression in a major key […] The only difference is where the scale root, or “tonal center” is located within the pattern: Notice that the only difference is where the root is located (the colored dot). In blues and rock, the most prevalent scale used for soloing is minor pentatonic, which is intervallically spelled 1 (root), b3 (flatted third), 4 (fourth), 5 (fifth) and b7 (flatted seventh). Additionally, if you have been soloing using the major pentatonic over the I chord, then switching to the minor pentatonic will add greater variety to your soloing. To clarify this, we start from the same standard 12 bar blues progression in the key of A as in the previous section. To start, after messing around with the A minor pentatonic scale, try using a major pentatonic scale on the A chord, and when switching to the E7 chord, keep on the major pentatonic scale. As you may have noticed, the A minor pentatonic scale doesn’t contain the C#-note. know it. While you can get by without necessarily learning chord tone soloing, the extra dimension it adds to your playing really makes it worthwhile investment of your practice time. I Thanks Brian. That’s the reason the article I refer to is called ‘How To Break Through Your Guitar Soloing Limitations – A Story About Chord Tone Soloing And The Dominant Pentatonic Scale’. With this technique you are able to choose the notes that will sound best at any given moment in your solo. Hope to see more. Your email address will not be published. Here is the scalar framework for the key of F# minor spanned over the fretboard. Why The Minor Pentatonic Scale Is The Most Overrated Scale To Solo Over Blues Chords, A minor pentatonic scale (with added major 3rd). You should experiment with all options and mix them up. See Everything that Zombie Guitar has to Offer! You can simply just “noodle around” within each of these pentatonic boxes as each chord is playing. Try experimenting with different notes and listen to the feeling they give you! The “One Pentatonic per Chord” Approach to Soloing Over a Chord Progression. Chord tone soloing takes quite a lot of practice but stick with it and you’ll get there. For the D major chord, you would locate the “box” with your pinky finger on the 10th fret, which is the note ‘D’. They just ooze that minor bluesy vibe or sweet major vibe. However, if you truly want to sound great with your playing it is essential to have the ability to both play “in key” and “connect your playing with the underlying chords”. Soloing by Key is the easiest method of soloing because you treat the entire song as one entity. For example, if the song has the chords A7, D7, E7, you can sound great just using the A minor pentatonic scale. When you get to the D7 chord, try hitting either the F sharp note or the C natural, which is not in the A major pentatonic scale, but is in the D7 chord. This is also true for a minor song, where they chords might be Am7, Dm7, E7, and the A minor pentatonic can be put to great use there too. This chord progression is a simple I-IV-V in C major, it would also work very well with C major pentatonic scale or C major scale. A more advanced approach that comes closer to how great blues guitarists apply Chord Tone Soloing, is to use the D dominant pentatonic scale. Full Access Member “Video Backing Tracks” for this lesson: If you have been improvising or composing solos for any length of time, you are probably accustomed to approaching soloing in the following manner: 1.) Since the first chord of the progression is F#m, we can just go ahead and call this a “minor progression in the key of F# minor”. You know your guitar playing can improve, but you have no clue how to do it. The chord tones are always going to be the best sounding notes within the scale, so try to land on chord tones just as the chord changes occur. I wonder if it’s because I make C sound like Am and D like Bm cos I’m used to aiming for chord notes in the minor pentatonic. Published August 30, 2020 by Graham Tippett. When I got to the diatonic scales at the end- bammm. The white dot indicates the note ‘F#’: When you are soloing over the F# minor chord or the A major chord, you can always add in some additional notes by simply remembering this “pattern”: If an E major or C# minor chord occurs, you would shift to this box pattern: Finally, if a D major or B minor chord occurs, you would shift to this pattern: Now you see how these “pentatonic boxes” fit perfectly into the overall scalar framework of the key. This is especially common in blues based music, and it works great. 6:09 – Part 2: Expanding Beyond Pentatonic Position #1 into Neighboring Positions Next cames modes, in all my years of playing all across the country I have never needed This is much easier than trying to memorize all the different CAGED shapes in conjunction with all the different scale shapes. Let’s just go with the higher octave because leads sound cooler when played up high :). This means that you don’t play in one pentatonic scale over ALL chords, but you connect the chords being played in the progression with a certain scale. Required fields are marked *. If you would like some more detailed reasons why using the minor pentatonic scale over ALL chords in a blues progression is not the best method of soloing, you can download my FREE Guitar Soloing Tips guide, where I explain more in depth why using the minor pentatonic scale as the only method of playing blues solos destroys your chances of developing your guitar playing further. Overcoming Your Blues Guitar Frustrations By Understanding How Chords and Scales Are Related. It really is that simple. Prior to this, the fretboard just looked a mess, even for someone decently familiar. In this instance, it would be derived from E Mixolydian … The problem is that it is somewhat difficult to remember all of these different patterns and shapes. I’ve been trying this with a simple G, C, D chord progression but it always sounds a bit odd when shifting pentatonic. There’s another jazz pentatonic scale over a dominant 7th chord that gives off a different vibe. This gives me a lot of fretboard visualization and I'm able to connect chord tones and create licks based off of what I'm seeing.? Here is what is included when you pay the one-time fee to upgrade your account. Taking Your Guitar Playing to Blues Heaven By Applying Chord Tone Soloing. I like to combine a CAGED triad, an arpeggio, a pentatonic scale, and a major scale. My teacher has pointed me to chord-tone soloing. Each video is over 9 minutes long; There are HUNDREDS more “chord tone … You are literally playing: Each pentatonic scale has its’ own 5 positions. We made it to the third video in the series where we take a moment to stop and really listen and analyze why each note in the pentatonic scale has a different flavor over each chord in a Blues progression. There are 5 “pentatonic only” video backing tracks which will allow you to practice in each of the 5 pentatonic positions without focusing on chord tone targeting; There are then 5 “chord tone targeting” videos where the chord tones “light up” as the underlying chords change. Now, you would simply just apply this basic pentatonic box #1 to each chord. If we analyze the D7 chord and the D minor pentatonic scale, we see that the chord contains an F#, while the scale comprises an F note. Try this out for yourself on your guitar, play a C note and play a C# note an octave higher; not the best sound in the world right?Of course, a little dissonance never killed nobody and sometimes that dissonant C note might even be the perfect sound that we are after. If you want to break through your limitations and come a step closer to sounding like your favorite guitar hero, you need to explore more melodic ways of creating a blues guitar solo. I have never needed to For the A major chord, you would locate the “box” with your pinky finger on the 17th fret, which is the note ‘A’. Amazing how a lesson has the ability to trigger or complete some scattered idea you had all along but couldn’t quite nail down. With this approach, you will still be accomplishing the exact same thing, only you will be approaching it from a different perspective. For now though, just realize that you aren’t simply just playing the F# minor pentatonic scale over all of the chords within the progression. Pentatonic scales are killer scales to play over blues and over I-IV-V changes. For example you could play some of it using the C major pentatonic and some using the ideas above. Even better if one of the chord tones isn't in the pentatonic. This again is a way of thinking that is common among beginner/intermediate guitarists, but definitely not a good approach. In the key of G, that translates to the notes of G minor pentatonic, G Bb C D F, as shown in FIGURE 1. Rather than trying to explain it to you, I will just show you some diagrams…. Applying what we explained in the previous paragraph, we can raise the F note in the D minor pentatonic to an F# and thus play the D minor pentatonic with added major 3rd, but there are even better ways. 2:59 – Part 1: Playing “Pentatonic Position #1” over each Chord Unlike the other chord changes this one leaves 2 changes in the notes of the modes. This progression is 1 /// 4 /// 1 /// 1 /// 4 /// 4 /// 1 /// 1 /// 5 /// 4 /// 1 / 4 / 1 / 5 /. How To Break Through Your Guitar Soloing Limitations – A Story About Chord Tone Soloing And The Dominant Pentatonic Scaleby Antony Reynaert. If you pick these notes to land on over an A7 chord, you will be able to give a more melodic feel to your lead guitar playing and your solos will have a lot more appeal to them. Thinking of pentatonic scales this way is really powerful. Once again you will have accentuated the chord change. Soloing Over Blues Progressions - A More Effective Approach. Instant access to chord tones means it’s easier to think about soloing patterns and licks. 9:44 – Part 3: Locating the Chord Tones Within These Movable Pentatonic Boxes In this article specifically we’ll look at how to overcome these barriers by learning how chords and scales work together. By doing this, you will still be playing 100% in-key, but you will notice that your playing will be sounding a bit more “connected” with each chord as the chord changes occur. You want your blues guitar solos to sound like the ones played by your favorite blues guitarists, but you feel like you’re stuck in the same old patterns and licks. This opening phrase is as much about the rhythm as any melodic content. 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