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Sounds recognizable? I could not put my ax down! For the E major chord, you would locate the “box” with your pinky finger on the 12th fret, which is the note ‘E’. Learn exactly how to master blues guitar with the. Great blues guitarists will use the D dominant pentatonic scale when improvising over the  D7 chord in a dominant blues progression. all these guitar teachers online talk about playing the chord tones and stuff, and you’ve shown me what that means and how it works . 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. 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. this is so helpful, thank you! You have learned about the minor pentatonic scale and learned to improvise a bit, but you’ve come to a point where you don’t make progress anymore. 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! 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. 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. Most guitarists are taught to play minor pentatonic or the flat 5 blues scale when soloing over a 1 4 5 blues progression. Why Altered And Whole Tone Scales Are Easier Than You Think Discover that scale in the next tip. I’ve been playing in bands and studying the fretboard since I was 11. To illustrate how chords and scales are very deeply intertwined, we start from a standard 12 bar blues progression in the key of A, with the following chords:The most common and basic approach would be to improvise over this progression using the A minor pentatonic scale. Want to seriously up your guitar game regardless of your level? As these chords move, B.B.King is known to move positions with them, keeping things nice and simple. 9:44 – Part 3: Locating the Chord Tones Within These Movable Pentatonic Boxes Steal from the best and all that… Try experimenting with different notes and listen to the feeling they give you! I have stuck with them for years, but I've plateaued in my soloing abilities. Bravo Brian, we are spoilt by the quality and fantastic content included within your lessons. Why not try both and see how it influences the tone? Step 1 – Apply the Basic “Pentatonic Box #1” to Each Chord. In the right colomn you see the five notes of the A minor pentatonic scale.As you see in the table above, the C# note in the A7 chord clashes with the C note of the A minor pentatonic scale. 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. A large share of beginner and intermediate guitar players only make use of the minor pentatonic scale to solo over a dominant blues progression. 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. 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. 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. Chord Tone Soloing for Jazz Guitar: Master Arpeggio-Based Jazz Bebop Soloing for Guitar: Alexander, Mr Joseph, Pettingale, Mr Tim: 9781789330588: Books - Amazon.ca 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. For the F# minor chord, you would locate the “box” with your index finger at either the 2nd fret or the 14th fret, which is the note ‘F#’. Hence, if the D minor pentatonic is being played over a D7, these notes will clash and it will sound horrible. Let me break it down for you why this is.The A7 chord contains 4 notes, which we already looked at. That’s why we will use an expanded version of the scale to play over the dominant seventh chord A7: the A minor pentatonic scale with an added major third (see scale diagram below). Published August 30, 2020 by Graham Tippett. 6:09 – Part 2: Expanding Beyond Pentatonic Position #1 into Neighboring Positions Let’s look at how this happens and how to overcome these guitar playing barriers. The late, great B.B. Why? I like to combine a CAGED triad, an arpeggio, a pentatonic scale, and a major scale. Chord Tone Soloing – A Simple Method. It means using only the pitches within a given chord to construct an improvised melodic line over the top of that chord, and then repeating that process for whatever chord is next. Brian, you put a warning sign on this lesson! Basically, such a dominant seventh chord is built up using 4 notes: -    The Root note (R) : A-    The major 3rd (3) : C#-    The 5th (5) : E-    The flat 7th (b7) : GAs the A7 chord contains these four notes, they are also a great choice to land on when soloing. In this chord tones lesson we will learn to target the notes in each individual chord of the 12-bar blues progression and adjust our soloing approach slightly for each one. About the author: I’m old af now and still at it! Overcoming Your Blues Guitar Frustrations By Understanding How Chords and Scales Are Related. How To Tie Chords and Scales Together So That You Are Picking The Best Possible Notes Over Each Chord. You are literally playing: Each pentatonic scale has its’ own 5 positions. 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. This opening phrase is as much about the rhythm as any melodic content. 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 is done by selecting a scale that works over the entire key and only playing its notes. This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. These frustrations are shared by many guitar players around the world! They just ooze that minor bluesy vibe or sweet major vibe. You saw your improvisation qualities improve rapidly and it felt like some kind of magic. Instant access to chord tones means it’s easier to think about soloing patterns and licks. I started sliding, bending skipping notes like I was possessed! to know them, but i shall. if the chord progression is in A minor, then you would choose A minor pentatonic/A minor blues/A natural minor scale), 3.) To help with transitioning from one “pentatonic box” to the next, you can start to expand beyond just pentatonic position #1. Hope to see more. 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). 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’. There’s another jazz pentatonic scale over a dominant 7th chord that gives off a different vibe. This again is a way of thinking that is common among beginner/intermediate guitarists, but definitely not a good approach. Chord tone soloing takes quite a lot of practice but stick with it and you’ll get there. When the chords change from C7 to D7, try going from F to F#, then play the D7 chord tones. This is much easier than trying to memorize all the different CAGED shapes in conjunction with all the different scale shapes. Soloing Over Blues Progressions - A More Effective Approach. In this instance, it would be derived from E Mixolydian … But there will be times where you want to sound more melodically and you want to hit the perfect note at the perfect time. This progression is 1 /// 4 /// 1 /// 1 /// 4 /// 4 /// 1 /// 1 /// 5 /// 4 /// 1 / 4 / 1 / 5 /. As you mastered the minor pentatonic scale completely, you may have noticed that you got stuck and your soloing didn’t improve much anymore. King’s interpretation of, ‘The Thrill Is Gone’, is a great tune to start experimenting with soloing over chord changes. It’s a slow minor blues with just a handful of changes; we can fall back on the minor pentatonic scale, and we don’t need to learn any new scales or patterns to be able to outline the chords. 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. I was working on the triads and arpeggio coursed but man, this one started to connect the dots so to speak. 1:31 – Intro to the “One Pentatonic per Chord” Approach 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. All notes that are in the D7 chord are in the D dominant pentatonic as well. 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. How Do You Use the Pentatonic Scale to Solo? Pentatonic scales are killer scales to play over blues and over I-IV-V changes. I’ve been trying this with a simple G, C, D chord progression but it always sounds a bit odd when shifting pentatonic. That is the way a lot of guitarists approach the whole concept of “soloing over a chord progression”, and that’s completely fine! You also know where the chord tones are located within each pattern. 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.) 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”. To clarify this, we start from the same standard 12 bar blues progression in the key of A as in the previous section. Therefore, I will leave it up to you (or you can just watch me do it in the video), to try and figure out how to confine your playing to just one area of the fretboard at a time. 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. How Your Blues Guitar Frustrations Are Tied To a Very Limited View of How Blues Scales And Chords Work. 12:53 – Part 4: Adding in the Remaining Diatonic Scale Notes to Each Pentatonic Box Pattern Using the major or minor pentatonic as a base and then hitting the chord tones of the current chord at the right times. Just as in improvising, or soloing, the pentatonic scale avoids problematic dissonance. For the D major chord, you would locate the “box” with your pinky finger on the 10th fret, which is the note ‘D’. 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. For example you could play some of it using the C major pentatonic and some using the ideas above. 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. Thanks Brian. There are 5 major and 5 minor chord progressions. Wish you could bottle this stuff! I have never needed to 17:51 – Taking the “Soloing with Pentatonics” Concept even Further…. 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. Step 3 – Recognize where the Chord Tones are Located Within Each Pentatonic Box. As you may have noticed, the A minor pentatonic scale doesn’t contain the C#-note. Amazing how a lesson has the ability to trigger or complete some scattered idea you had all along but couldn’t quite nail down. Further on, I will elaborate on the correct approach and teach you how to apply it correctly. It really is that simple. Now, you would simply just apply this basic pentatonic box #1 to each chord. With this approach, you will still be accomplishing the exact same thing, only you will be approaching it from a different perspective. They will sound really good, because these tones can be found within the chord. Unlike the other chord changes this one leaves 2 changes in the notes of the modes. We’ll call it the Mixo-pentatonic scale, but feel free to give it your own name. 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. We’re using pick and fingers to enable shifting to more conventional flatpicked linking phrases, but fingerstyle is a completely valid option here, too. The “method” could be divided into 4 steps: Step 1 – Apply the Basic “Pentatonic Box #1” to Each Chord. Next cames modes, in all my years of playing all across the country I have never needed Required fields are marked *. Soloing by Key is the easiest method of soloing because you treat the entire song as one entity. Here’s what each pentatonic box would look like…. How Practicing Chord Tone Targetting Will Get You A Better Guitarist. Are you starting to see why beginner blues guitarists get stuck in their progress on the guitar? The problem is that it is somewhat difficult to remember all of these different patterns and shapes. I mentioned some of this in Part 3 but let’s take another look. Rather than trying to explain it to you, I will just show you some diagrams…. Step 4 – Finally, add in the Remaining Scale Notes from the F# Minor Scale, This is where the magic really happens. My teacher has pointed me to chord-tone soloing. How To Break Through Your Guitar Soloing Limitations – A Story About Chord Tone Soloing And The Dominant Pentatonic Scaleby Antony Reynaert. Adding up to this, they use the minor pentatonic scale over ALL chords in this blues progression, which makes their solos sound less interesting and definitely not professional. 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. That is what step 2 is for…, Step 2 – Start to Extend each Pentatonic Box into its’ Neighboring Positions. I took the pains to rule up a sheet, even using a stencil to mark/circle each scale note. Over the IV chord, you also have the choice to solo using the minor pentatonic that relates to the IV chord. Most of these guitarists think they’re doing it the correct way, but actually they only use a very basic method of soloing. 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 … An approach that many great guitarists use to target the right notes over a chord progression is called “Chord Tone Soloing”. I am 78 and comtinue to play. This isn’t always true for major chords, so only focus on the triad tones for those. First off, let’s take a look at what a lot of beginner/intermediate guitarists think is the correct way of Chord Tone Soloing. You will also find however, that things will sound kinda “jumpy” since you will be jumping around to different areas of the fretboard. 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. The chord tone for the 1 chord – D major would still be first finger on the 3rd string but this time it would be on 7th fret. Depending on when you are reading this, the course may or may not be live. 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 will allow you to practice chord tone targeting in each of the 5 positions. 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. Your email address will not be published. For example, in the key of G blues, we start on the 3rd fret for G7, then move to the 8th fret for the C7 (4 chord). 2:59 – Part 1: Playing “Pentatonic Position #1” over each Chord It’s important that you realize that there are better options that we could choose than only using the minor pentatonic scale. Choose the appropriate scale based on the key (ie. Any thoughts? For the A major chord, you would locate the “box” with your pinky finger on the 17th fret, which is the note ‘A’. This course was especially rewarding and pleasurable for me, as I am currently concentrating my learning efforts on the subject of Pentatonics. If you want to connect the chords to the key-scale, you may target chord tones within the scale patterns based on the CAGED shapes. 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. For example, if the song has the chords A7, D7, E7, you can sound great just using the A minor pentatonic scale. 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. Here is the scalar framework for the key of F# minor spanned over the fretboard. There are three ways to play the pentatonic scale pattern for lead guitar solo: A progression in a major key […] You see these notes again in the left colomn below. Even better if one of the chord tones isn't in the pentatonic. With this technique you are able to choose the notes that will sound best at any given moment in your solo. I have learned the CAGED patterns in diatonic scale and their corresponding pentatonic patterns. 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. Determine the key of the chord progression that you will be soloing over, 2.) am studing if now. 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. This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. You know your guitar playing can improve, but you have no clue how to do it. Why The Minor Pentatonic Scale Is The Most Overrated Scale To Solo Over Blues Chords, A minor pentatonic scale (with added major 3rd). 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). The method given in this lesson is an alternative approach. A more advanced approach that comes closer to how great blues guitarists apply Chord Tone Soloing, is to use the D dominant pentatonic scale. In this article specifically we’ll look at how to overcome these barriers by learning how chords and scales work together. Skipping ahead a few bars, I’m spelling out the B minor chord with a quick rake into a short pentatonic phrase, before combining some pentatonic doublestops to make an A minor 9th-7th descending phrase lifted straight from Little Wing. 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). Turned out to be a good way to tell your brain what notes are in whatever key you’re currently working on. In that case we raise the F note to an F# and also play the 9th, which is the E note. 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. You can simply just “noodle around” within each of these pentatonic boxes as each chord is playing. Thinking of pentatonic scales this way is really powerful. In addition to everything else that is included with a Full Access Membership, many lessons include “Full Access Extras”. Triads with widely spaced voicings like this are great for giving a ‘bigger’ sound when you’re looking to fill harmonic space. 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.? 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! 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. When I got to the diatonic scales at the end- bammm. This is where you can get other modal scales, harmonic minor, etc without thinking about it specifically. 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. 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. When soloing over minor chords using this “pentatonic box #1” method, the 7th is part of the pentatonic shape. You should experiment with all options and mix them up. I Your email address will not be published. To understand how this scale is linked with the chords being played, we’ll break down the A7 chord, which is a dominant seventh chord. Prior to this, the fretboard just looked a mess, even for someone decently familiar. 3. Chord Tone Soloing Guitar Lesson – Level 4 – Overview and Chord Analysis Download the tab & notation for this chord tone soloing guitar lesson This is a bluesy ballad with a progression based around the tonal center of A, but it has some richer changes than a standard I-IV-V beginning with a D moving to a Dm (IV to ivm) and a bVII (G7) which is followed by a vii-ii-V from the key of A, namely (F#m-Bm7-E7). When all of the chords belong to the same key, we can use pentatonic scales for each chord, apart from the diminished (vii) chord, and still not stray from the key. You can see this for yourself below. Once again you will have accentuated the chord change. 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. 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. Pentatonic position #1 can either be major or minor. Each video is over 9 minutes long; There are HUNDREDS more “chord tone … Let’s just go with the higher octave because leads sound cooler when played up high :). Pentatonic position #1 can either be major or minor. 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. 0:00 – Intro Demo 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. In that case we raise the F note to an F# and also play the 9th, which is the E note. Haha thanks so much Phil! See Everything that Zombie Guitar has to Offer! Chord tone soloing is a technique to make your solo sound "in" the backing track. 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. And so on (Minor pentatonic is a bit different). Why You Are You Stuck In A Rut With Your Blues Guitar Playing. Depending on which of the four notes you pick, you will produce a different emotion. What I have been explaining now, is Chord Tone Targetting. When the chords change from C7 back to G7, try going from B♭ to B, then playing the G7 chord tones. 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. The minor pentatonic and the blues scale are the most common ways to play over a dominant blues progression, but these are definitely not the best ways of soloing if you want to sound like your favorite blues guitarists. We can see why this works if we break down the scale and chord notes. I always appreciate your comments! In 65 years of music I have never heard of pentatonics. know it. 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”. It is sooooo addictive. 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. These kinds of ideas form the basics of chord tone soloing. 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. As long as you know the notes of your low E-string, and you apply the appropriate box to the appropriate chord, your playing will sound VERY connected with the chords! Here is what is included when you pay the one-time fee to upgrade your account. Think back to the moment when you just learned to improvise on guitar and played your first licks in the minor pentatonic scale. Taking Your Guitar Playing to Blues Heaven By Applying Chord Tone Soloing. The chord tone for the 5 chord – A major would still be the first finger on the 4th string. For each of the 10 chord progressions, you can choose which key that you want to jam in as well as the concept that you want to work on – Pentatonic Scale, Blues Scale, Diatonic Scale, Scale Combining or Chord Tone Targeting. Is n't in the pentatonic scale, and a major would still be accomplishing exact. Is an alternative approach, is chord tone Targetting will get you a Guitarist... Of music I have been explaining now, you put a warning sign this! A Story about chord tone Targetting 1 to chord tone soloing pentatonic chord is playing chord... The tone or sweet chord tone soloing pentatonic vibe choose the notes that don ’ t contain the C major and... Also know where the chord are covered in this lesson chord progression Antony.! Af now and still at it on this lesson hitting the chord tones see how it the! 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