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Lesson 29: Blues Soloing,
Part 1
This lesson is going to familiarize you with the chord
tones within the scale patterns. Yes, that's right now
you have to learn the notes instead of blazing trough
patterns. Why should you learn them... Because these
are the color tones. The tones that make the scale and
chord progression melt into one harmonious melody, or
electrifying solo. So without further adieu... the charts!
Let's start by taking the Dominant 7th chords in the
Key of G.
If you can't read my chord charts here's how. The numbers
on the left of the diagram represent the fret numbers.
The numbers on the diagram represent the degree of the
major scale that the notes are. Example: 1 = G (the
root note) on the G7 diagram. To play it just place
your fingers where the numbers are on the diagram
Now let's find the chord tones on the fretboard and
compare it to the Mixolydian Mode. You might ask why
the Mixolydian Mode. It is because when you play Dominant
7th chords, the Mixolydian Mode fits the best because
it gives you the flatted 7th note which gives Dominant
7th chords their sound. I didn't chart out C7 and D7
in relation to C Mixolydian and D Mixolydian, but I
figured that you could figure out how to do this on
your own. Note: unlike my other patterns, the first
fret (far left) represents the open strings.
Now that you have studied the relationship of the chord
tones to the scale pattern you should try soloing with
these notes for that bluesy feel that you get from playing
the Mixolydian mode. Sound Hard?? It really isn't, all
you have to do is think of the chord tones. Play the chord
tones as opposed to the scale. Use the other scale tones
that are not chord tones as links to get a smooth transition
from one note to the next. Try using slides, hammer-ons,
and trills from a scale note to a chord note. This will
bring out the flavor in the chords. I really like hitting
on the I chord's (G7) 3rd degree note, in this case it's
B. It has a bluesy sound that the Mixolydian Mode and
Dominant 7th chords really bring out.
This next section will compare G7's chord tones to
the G Blues Scale, and it will show you why the Mixolydian
mode fits a little bit better because the Mixolydian
mode contains all of the chord tones. the Blues Scale
however omits a couple notes, but it doesn't leave any
bad notes for you to hit. Let me show you...
G7
1 3 5 b7
C E G Bb
The G Blues Scale
1 b3 4 #4 5 b7
G Bb C C# D F
As you can see the Blues Scale only contains the root
and the flatted 7th note. So now the question is why
do you use the Blues Scale? I'll show you with more
charts. What you want to notice is that the chord tones
for G7, C7, and D7 come together to form the Minor Pentatonic
Scale, which is the Blues Scale without the added #4
(which is the only note that is not contained in any
of the chords).
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