I like to combine a CAGED triad, an arpeggio, a pentatonic scale, and a major scale. 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. 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. Triads with widely spaced voicings like this are great for giving a ‘bigger’ sound when you’re looking to fill harmonic space. You also know where the chord tones are located within each pattern. 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”. Sounds recognizable? 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. 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. 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. 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. They will sound really good, because these tones can be found within the chord. This course was especially rewarding and pleasurable for me, as I am currently concentrating my learning efforts on the subject of Pentatonics. Try experimenting with different notes and listen to the feeling they give you! 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. 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. Soloing Over Blues Progressions - A More Effective Approach. We’re using pick and fingers to enable shifting to more conventional flatpicked linking phrases, but fingerstyle is a completely valid option here, too. 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. 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.? Great blues guitarists will use the D dominant pentatonic scale when improvising over the  D7 chord in a dominant blues progression. The chord tone for the 5 chord – A major would still be the first finger on the 4th string. 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). if the chord progression is in A minor, then you would choose A minor pentatonic/A minor blues/A natural minor scale), 3.) I I have never needed to 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. Even better if one of the chord tones isn't in the pentatonic. 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. Why? My teacher has pointed me to chord-tone soloing. 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. First off, let’s take a look at what a lot of beginner/intermediate guitarists think is the correct way of Chord Tone Soloing. Any thoughts? This again is a way of thinking that is common among beginner/intermediate guitarists, but definitely not a good approach. 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. Most of these guitarists think they’re doing it the correct way, but actually they only use a very basic method of soloing. 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. There are 5 major and 5 minor chord progressions. I started sliding, bending skipping notes like I was possessed! 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. 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. You should experiment with all options and mix them up. 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. These kinds of ideas form the basics of chord tone soloing. I am 78 and comtinue to play. 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, 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). Let’s look at how this happens and how to overcome these guitar playing barriers. How Do You Use the Pentatonic Scale to Solo? The late, great B.B. For the E major chord, you would locate the “box” with your pinky finger on the 12th fret, which is the note ‘E’. Are you starting to see why beginner blues guitarists get stuck in their progress on the guitar? We’ll call it the Mixo-pentatonic scale, but feel free to give it your own name. What I have been explaining now, is Chord Tone Targetting. 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. For the A major chord, you would locate the “box” with your pinky finger on the 17th fret, which is the note ‘A’. Here is the scalar framework for the key of F# minor spanned over the fretboard. In addition to everything else that is included with a Full Access Membership, many lessons include “Full Access Extras”. I have stuck with them for years, but I've plateaued in my soloing abilities. Instant access to chord tones means it’s easier to think about soloing patterns and licks. Next cames modes, in all my years of playing all across the country I have never needed The method given in this lesson is an alternative approach. The “One Pentatonic per Chord” Approach to Soloing Over a Chord Progression. Want to seriously up your guitar game regardless of your level? 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. With this approach, you will still be accomplishing the exact same thing, only you will be approaching it from a different perspective. 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. King’s interpretation of, ‘The Thrill Is Gone’, is a great tune to start experimenting with soloing over chord changes. 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. 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. They just ooze that minor bluesy vibe or sweet major vibe. How To Break Through Your Guitar Soloing Limitations – A Story About Chord Tone Soloing And The Dominant Pentatonic Scaleby Antony Reynaert. 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