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. 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. Discover that scale in the next tip. There are three ways to play the pentatonic scale pattern for lead guitar solo: A progression in a major key […] 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 will allow you to practice chord tone targeting in each of the 5 positions. 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. Triads with widely spaced voicings like this are great for giving a ‘bigger’ sound when you’re looking to fill harmonic space. 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. Amazing how a lesson has the ability to trigger or complete some scattered idea you had all along but couldn’t quite nail down. this is so helpful, thank you! For the D major chord, you would locate the “box” with your pinky finger on the 10th fret, which is the note ‘D’. 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). Further on, I will elaborate on the correct approach and teach you how to apply it correctly. How Practicing Chord Tone Targetting Will Get You A Better Guitarist. The “One Pentatonic per Chord” Approach to Soloing Over a Chord Progression. Haha thanks so much Phil! This is especially common in blues based music, and it works great. An approach that many great guitarists use to target the right notes over a chord progression is called “Chord Tone Soloing”. Want to seriously up your guitar game regardless of your level? Your email address will not be published. Published August 30, 2020 by Graham Tippett. know it. 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 … 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. 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. Pentatonic scales are killer scales to play over blues and over I-IV-V changes. It is sooooo addictive. Great blues guitarists will use the D dominant pentatonic scale when improvising over the  D7 chord in a dominant blues progression. 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). I have stuck with them for years, but I've plateaued in my soloing abilities. Any thoughts? 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. Next cames modes, in all my years of playing all across the country I have never needed 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! Hence, if the D minor pentatonic is being played over a D7, these notes will clash and it will sound horrible. I They just ooze that minor bluesy vibe or sweet major vibe. I was working on the triads and arpeggio coursed but man, this one started to connect the dots so to speak. 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. Bravo Brian, we are spoilt by the quality and fantastic content included within your lessons. Step 4 – Finally, add in the Remaining Scale Notes from the F# Minor Scale, This is where the magic really happens. They will sound really good, because these tones can be found within the chord. Pentatonic position #1 can either be major or minor. When the chords change from C7 to D7, try going from F to F#, then play the D7 chord tones. About the author: Why The Minor Pentatonic Scale Is The Most Overrated Scale To Solo Over Blues Chords, A minor pentatonic scale (with added major 3rd). You know your guitar playing can improve, but you have no clue how to do it. Most of these guitarists think they’re doing it the correct way, but actually they only use a very basic method of soloing. I always appreciate your comments! 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. 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. Let’s just go with the higher octave because leads sound cooler when played up high :). Your email address will not be published. In the key of G, that translates to the notes of G minor pentatonic, G Bb C D F, as shown in FIGURE 1. Chord tone soloing is a technique to make your solo sound "in" the backing track. As you may have noticed, the A minor pentatonic scale doesn’t contain the C#-note. Required fields are marked *. Rather than trying to explain it to you, I will just show you some diagrams…. 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). It’s important that you realize that there are better options that we could choose than only using the minor pentatonic scale. Just as in improvising, or soloing, the pentatonic scale avoids problematic dissonance. A large share of beginner and intermediate guitar players only make use of the minor pentatonic scale to solo over a dominant blues progression. Choose the appropriate scale based on the key (ie. 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. 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? This isn’t always true for major chords, so only focus on the triad tones for those. Thanks Brian. 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. What I have been explaining now, is Chord Tone Targetting. Overcoming Your Blues Guitar Frustrations By Understanding How Chords and Scales Are Related. Why not try both and see how it influences the tone? For the E major chord, you would locate the “box” with your pinky finger on the 12th fret, which is the note ‘E’. 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. Learn exactly how to master blues guitar with the. Depending on which of the four notes you pick, you will produce a different emotion. Turned out to be a good way to tell your brain what notes are in whatever key you’re currently working on. 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. For example, if the song has the chords A7, D7, E7, you can sound great just using the A minor pentatonic scale. 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. 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. You can simply just “noodle around” within each of these pentatonic boxes as each chord is playing. 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. Thinking of pentatonic scales this way is really powerful. Even better if one of the chord tones isn't in the pentatonic. 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. 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’. Over the IV chord, you also have the choice to solo using the minor pentatonic that relates to the IV chord. That is what step 2 is for…, Step 2 – Start to Extend each Pentatonic Box into its’ Neighboring Positions. I mentioned some of this in Part 3 but let’s take another look. 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. 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. Here is what is included when you pay the one-time fee to upgrade your account. 6:09 – Part 2: Expanding Beyond Pentatonic Position #1 into Neighboring Positions This is much easier than trying to memorize all the different CAGED shapes in conjunction with all the different scale shapes. 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. Let me break it down for you why this is.The A7 chord contains 4 notes, which we already looked at. 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. I have learned the CAGED patterns in diatonic scale and their corresponding pentatonic patterns. When I got to the diatonic scales at the end- bammm. You see these notes again in the left colomn below. You will also find however, that things will sound kinda “jumpy” since you will be jumping around to different areas of the fretboard. Brian, you put a warning sign on this lesson! This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. Wish you could bottle this stuff! How Do You Use the Pentatonic Scale to Solo? 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. This is where you can get other modal scales, harmonic minor, etc without thinking about it specifically. I simply play the diatonic and pentatonic scales and try not to linger on notes that don’t sound good. We’re using pick and fingers to enable shifting to more conventional flatpicked linking phrases, but fingerstyle is a completely valid option here, too. 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). 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. There’s another jazz pentatonic scale over a dominant 7th chord that gives off a different vibe. There are 5 major and 5 minor chord progressions. I started sliding, bending skipping notes like I was possessed! 9:44 – Part 3: Locating the Chord Tones Within These Movable Pentatonic Boxes 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.? Chord tone soloing takes quite a lot of practice but stick with it and you’ll get there. to know them, but i shall. To clarify this, we start from the same standard 12 bar blues progression in the key of A as in the previous section. 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. 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). 1:31 – Intro to the “One Pentatonic per Chord” Approach 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. The method given in this lesson is an alternative approach. You should experiment with all options and mix them up. 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. This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. 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 guitarists are taught to play minor pentatonic or the flat 5 blues scale when soloing over a 1 4 5 blues progression. You can see this for yourself below. 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. 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! When the chords change from C7 back to G7, try going from B♭ to B, then playing the G7 chord tones. All notes that are in the D7 chord are in the D dominant pentatonic as well. 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. We’ll call it the Mixo-pentatonic scale, but feel free to give it your own name. The “method” could be divided into 4 steps: Step 1 – Apply the Basic “Pentatonic Box #1” to Each Chord. Determine the key of the chord progression that you will be soloing over, 2.) 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. Soloing Over Blues Progressions - A More Effective Approach. For example you could play some of it using the C major pentatonic and some using the ideas above. Once again you will have accentuated the chord change. 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. if the chord progression is in A minor, then you would choose A minor pentatonic/A minor blues/A natural minor scale), 3.) Chord Tone Soloing – A Simple Method. Using the major or minor pentatonic as a base and then hitting the chord tones of the current chord at the right times. The late, great B.B. 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. 12:53 – Part 4: Adding in the Remaining Diatonic Scale Notes to Each Pentatonic Box Pattern 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. Prior to this, the fretboard just looked a mess, even for someone decently familiar. 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. 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. 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#’. It really is that simple. 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 could not put my ax down! But there will be times where you want to sound more melodically and you want to hit the perfect note at the perfect time. I like to combine a CAGED triad, an arpeggio, a pentatonic scale, and a major scale. Let’s look at how this happens and how to overcome these guitar playing barriers. A more advanced approach that comes closer to how great blues guitarists apply Chord Tone Soloing, is to use the D dominant pentatonic scale. 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. The chord tone for the 5 chord – A major would still be the first finger on the 4th string. 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. How Your Blues Guitar Frustrations Are Tied To a Very Limited View of How Blues Scales And Chords Work. You also know where the chord tones are located within each pattern. I am 78 and comtinue to play. 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.) And this is the D dominant pentatonic scale: Notice how all the notes in the chord are covered in this dominant pentatonic scale. In this article specifically we’ll look at how to overcome these barriers by learning how chords and scales work together. King’s interpretation of, ‘The Thrill Is Gone’, is a great tune to start experimenting with soloing over chord changes. 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. With this approach, you will still be accomplishing the exact same thing, only you will be approaching it from a different perspective. Soloing by Key is the easiest method of soloing because you treat the entire song as one entity. With this technique you are able to choose the notes that will sound best at any given moment in your solo. 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. 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’m old af now and still at 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. 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). Step 1 – Apply the Basic “Pentatonic Box #1” to Each Chord. Unlike the other chord changes this one leaves 2 changes in the notes of the modes. How To Tie Chords and Scales Together So That You Are Picking The Best Possible Notes Over Each Chord. 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”. am studing if now. 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 all the different scale shapes you why this is.The A7 chord chord tone soloing pentatonic notes! Than trying to memorize all the different CAGED shapes in conjunction with all the different shapes. - a more Effective approach practice chord tone soloing and the dominant pentatonic scale when soloing over chords. 5 major and 5 minor chord Progressions to think about soloing patterns and.! Really powerful either be major or minor pentatonic scale avoids problematic dissonance correct and. 5 major and 5 minor chord Progressions s important that you realize that there are 5 major 5! 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