Let’s just go with the higher octave because leads sound cooler when played up high :). It’s important that you realize that there are better options that we could choose than only using the minor pentatonic scale. This is much easier than trying to memorize all the different CAGED shapes in conjunction with all the different scale shapes. Why? Hope to see more. 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! 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. 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). These kinds of ideas form the basics of chord tone soloing. 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. 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. The late, great B.B. Wish you could bottle this stuff! Just as in improvising, or soloing, the pentatonic scale avoids problematic dissonance. There are three ways to play the pentatonic scale pattern for lead guitar solo: A progression in a major key […] Next cames modes, in all my years of playing all across the country I have never needed 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. But there will be times where you want to sound more melodically and you want to hit the perfect note at the perfect time. Want to seriously up your guitar game regardless of your level? Haha thanks so much Phil! Let’s look at how this happens and how to overcome these guitar playing barriers. These frustrations are shared by many guitar players around the world! See Everything that Zombie Guitar has to Offer! 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. 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. 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. Chord tone soloing is a technique to make your solo sound "in" the backing track. 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. You can see this for yourself below. I could not put my ax down! 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. 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. Steal from the best and all that… Pentatonic position #1 can either be major or minor. In the key of G, that translates to the notes of G minor pentatonic, G Bb C D F, as shown in FIGURE 1. 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. 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#’. This again is a way of thinking that is common among beginner/intermediate guitarists, but definitely not a good approach. 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. All notes that are in the D7 chord are in the D dominant pentatonic as well. What I have been explaining now, is Chord Tone Targetting. For example you could play some of it using the C major pentatonic and some using the ideas above. Depending on which of the four notes you pick, you will produce a different emotion. For example, if the song has the chords A7, D7, E7, you can sound great just using the A minor pentatonic scale. Turned out to be a good way to tell your brain what notes are in whatever key you’re currently working on. 17:51 – Taking the “Soloing with Pentatonics” Concept even Further…. In this instance, it would be derived from E Mixolydian … this is so helpful, thank you! How To Break Through Your Guitar Soloing Limitations – A Story About Chord Tone Soloing And The Dominant Pentatonic Scaleby Antony Reynaert. Required fields are marked *. Chord Tone Soloing for Jazz Guitar: Master Arpeggio-Based Jazz Bebop Soloing for Guitar: Alexander, Mr Joseph, Pettingale, Mr Tim: 9781789330588: Books - Amazon.ca They will sound really good, because these tones can be found within the chord. Thanks Brian. 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! 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). 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. For the D major chord, you would locate the “box” with your pinky finger on the 10th fret, which is the note ‘D’. Taking Your Guitar Playing to Blues Heaven By Applying Chord Tone Soloing. Now, you would simply just apply this basic pentatonic box #1 to each chord. Determine the key of the chord progression that you will be soloing over, 2.) When I got to the diatonic scales at the end- bammm. 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. 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. Why not try both and see how it influences the tone? 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. To clarify this, we start from the same standard 12 bar blues progression in the key of A as in the previous section. 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! Overcoming Your Blues Guitar Frustrations By Understanding How Chords and Scales Are Related. Here’s what each pentatonic box would look like…. How Practicing Chord Tone Targetting Will Get You A Better Guitarist. 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. It really is that simple. 3. I took the pains to rule up a sheet, even using a stencil to mark/circle each scale note. A large share of beginner and intermediate guitar players only make use of the minor pentatonic scale to solo over a dominant blues progression. This isn’t always true for major chords, so only focus on the triad tones for those. 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. Let me break it down for you why this is.The A7 chord contains 4 notes, which we already looked at. 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.? Instant access to chord tones means it’s easier to think about soloing patterns and licks. This course was especially rewarding and pleasurable for me, as I am currently concentrating my learning efforts on the subject of Pentatonics. This opening phrase is as much about the rhythm as any melodic content. to know them, but i shall. Pentatonic scales are killer scales to play over blues and over I-IV-V changes. 2:59 – Part 1: Playing “Pentatonic Position #1” over each Chord How Do You Use the Pentatonic Scale to Solo? Think back to the moment when you just learned to improvise on guitar and played your first licks in the minor pentatonic scale. I have stuck with them for years, but I've plateaued in my soloing abilities. Great blues guitarists will use the D dominant pentatonic scale when improvising over the  D7 chord in a dominant blues progression. 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. Using the major or minor pentatonic as a base and then hitting the chord tones of the current chord at the right times. 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). With this technique you are able to choose the notes that will sound best at any given moment in your solo. 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. You can simply just “noodle around” within each of these pentatonic boxes as each chord is playing. 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”. Sounds recognizable? Once again you will have accentuated the chord change. 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 see these notes again in the left colomn below. 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. I mentioned some of this in Part 3 but let’s take another look. 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! Discover that scale in the next tip. As these chords move, B.B.King is known to move positions with them, keeping things nice and simple. 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. 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’m old af now and still at it! Triads with widely spaced voicings like this are great for giving a ‘bigger’ sound when you’re looking to fill harmonic space. This scale is completely tied to the D7 chord and therefore will sound much more professional when applied over a D7. Why Altered And Whole Tone Scales Are Easier Than You Think I I started sliding, bending skipping notes like I was possessed! 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. 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 writing a song in C major, we could pick three chords: C – Dm – G – C Verses usually have melodies that are lower in pitch. 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