Acoustic Blues Guitar Licks & Soloing Strategies

LESSON 2: Bluesing up open chords part 2 - In this lesson learn to apply the concepts from the first lesson and utilize them over musical progressions. Learn to enhance and blues up basic blues rhythms. Learn to add licks and fills within blues progressions and play lead and rhythm at the same time. Learn classic blues devices you can easily add to your playing. Learn to use blues scales to build licks and connect musical ideas. Learn fun blues turnarounds with licks and chords. Learn to utilize triplets to enhance bluesy rhythms. Learn to build lines and licks to set up chord changes. Learn to blend in rhythm playing with lead playing doing both at the same time.

JAM TRACK - Bluesy Box Groove in A. The chords are A9-D9-E9. It’s a major key I-IV-V 12-bar blues with a slow change to the IV chord. You should hear that very identifiable major key 12-bar I-IV-V rhythm pattern. That pattern should alert you immediately that this track is wide-open for many soloing avenues.

What relates to all: Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities.

Try A Minor Pentatonic & Blues over all the chords for that minor, bluesy vibe.

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Try A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

(Same notes – just emphasize the root of the mode, A.)

Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound.

Try A Dorian over all the chords. Dorian works great over major key I-IV-V blues, swings, and shuffles. A Dorian is the same as G major, (A Dorian=G major).

A Dorian = A, B, C, D, E, F#, G

G Major = G, A, B, C, D, E, F#

(Same notes – just emphasize the root of the mode, A.)

So play all your G major scales but emphasize and start on the A notes and you have the cool minor sounds of A Dorian. Remember to keep going to back those A notes and make that the tonal center.

Try mixing A Minor Pentatonic, A Major Pentatonic, and A Dorian over all the chords. Explore and see which sound best to your ears.

Treat each chord as a separate event: Try switching pentatonics over each chord. Over just the A chord try A Minor Pentatonic & Blues and A major pentatonic. Over just the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.

Because the chords in this jam are dominant chords you can try the Mixolydian mode over each chord. Mixolydian mode sounds great over dominant chords like 7ths and 9ths. This is an incredibly useful mode, especially for blues and jazz playing.

The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th interval instead of a natural 7th:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Try this mode over dominant chords like 7th and 9th chords when treating each chord as a separate event. Mixolydian is the 5th mode in any major key. Remember, the key is to shift the tonal center to the root of the mode.

So to play A Mixolydian over the A9 chord ask what major scale’s fifth note is an A note. The answer is D. The fifth note of a D major scale is an A note. So play D Major scales over the A9 chord but emphasize the A notes for A Mixolydian. D Major and A Mixolydian consist of the same notes:

A Mixolydian Mode -A, B, C#, D, E, F#, G

D Major scale – D, E, F#, G, A, B, C#

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. So be sure to switch to the root of the mode.

Over the A9 chord try A Mixolydian, (same as D Major). Over the D9 chord try D Mixolydian, (same as G Major). Over the E9 chord try E Mixolydian, (same as A Major).

Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example play A Major Pentatonic over the A9 chord, then switch to A Minor Pentatonic & Blues over the D9 chord. Then try A Major Pentatonic again when you get to the E9 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try A Minor Pentatonic & Blues over the E9 chord instead of the major, or maybe Dorian – get creative and have fun!

LESSON 3: Add expressiveness to licks with vibrato, slides, bends, pull offs and more - In this lesson learn to take a series of notes and give them life - some blues - some sadness - some expressiveness. Learn expressive techniques and devices that you can add to your blues playing. Learn all about vibrato, hammer ons, pull offs, slurs, slides, trills, string bends, rakes, and the use of dynamics to create playing variety and expressiveness. Learn lots of licks spicing up your single note lines by adding these techniques. Learn to build variations on similar lead ideas to create endless wells of licks. Learn pick hand string raking techniques to add emphasis and interest to your playing. Learn to add another dimension to your playing by utilizing dynamics. Learn to combine these techniques together while learning a huge batch of new licks.

Jam Track - Slow Blues in E. Chords are E7-A-B7. This progression is a I-IV-V 12-Bar progression with a slow change to the IV chord. This is a slow tempo track so you have lots of time on each chord. This is perfect tempo wise if you to choose to solo by treating each chord as a separate event.

Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities. As soon as you hear these very identifiable blues progressions you know that they are wide open and you can go hog wild if you wish.

What Relates to all the chords:
For that minor bluesy sound try E Minor Pentatonic & Blues over all the chords:

E Minor Pentatonic & Blues = E, G, A, Bb, B, D

For that sweet major sound try E Major Pentatonic over all the chords:

E Major Pentatonic = E, F#, G#, B, C#

Here is a little trick to make it easier to get to Major Pentatonic if you are not familiar. E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor so both are constructed from exactly the same notes:

E Major Pentatonic = E, F#, G#, B, C#

C# Minor Pentatonic = C#, E, F#, G#, B

(Same notes – just emphasize the root of the mode, E.)

If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be E Major Pentatonic. By focusing on those E notes it will exude those sweet, happy, major sounds.

Try E Dorian over all the chords. Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales 2nd note is an E note. The answer is D. So E Dorian is the same as D major:

E Dorian = E, F#, G, A, B, C#, D

D major = D, E, F#, G, A, B, C#

(Same notes – just emphasize the root of the mode, E.)

Try playing D major scales but start on and emphasize the E notes. Resolve to and focus on those E notes and you are playing in E Dorian.

Try mixing E Minor Pentatonic, E Major Pentatonic, and E Dorian over all the chords for some killer sounds. Experiment, explore, and keep trying new and interesting things on the instrument.

Treat each chord like a separate event:

In this jam the chords are moving pretty slow so you have a lot of time on each chord. This is perfect for treating each chord as a separate event. Remember to listen to the rhythm and time your changes so you change your scale or landing notes as the chords change. Here are a few avenues to try:

• Try moving Minor Pentatonic & Blues scales over each chord. Play E Minor Pentatonic & Blues over the E chord and then play A Minor Pentatonic & Blues over the A chord and then B Minor Pentatonic & Blues over the B7 chord. Listen to how each pentatonic scale sounds as it outlines it’s corresponding chord.

• Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord,, and then play A Major Pentatonic over the A chord and then B Major Pentatonic over the B7 chord. Again, listen to the sounds of each scale and how they sound over each corresponding chord. It’s all about the sounds that you can create.

• Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example try E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try E Major Pentatonic over the B7 chord . Listen to how well this technique outlines and implies the chord changes.

• Try B Mixolydian over the B7 chord. Remember that Mixolydian is one of the modes of choice when soloing over 7th and 9th chords. Mixolydian is the 5th mode in any major scale. So to find the corresponding parent major scale for B Mixolydian ask what major scales 5th note is a B note. The answer is E, so B Mixolydian = E major:

B Mixolydian = B, C#, D#, E, F#, G#, A

E Major = E, F#, G#, A, B, C#, D#

(Same notes – just emphasize the root of the mode, B.)

Play E major scales and licks but start on and emphasize the B notes and you are now playing in B Mixolydian. Keep coming back to and resolving to those B notes while playing E major scales and you get the mood of B Mixolydian.

LESSON 4: Make your own scales - combine minor, major pentatonic and blues scales - In this lesson learn to create your own scales. Use these concepts to manipulate scales to add creativity and interest to your playing. Learn all about Minor Pentatonic Scales, Major Pentatonic Scales, and Blues Scales and their intervals. Learn how to mix these scales together for unique and new sounds. Learn to borrow elements from each scale to create new flavors, bluesy ideas and killer licks. Learn devices and licks by adding the ninth and flat five intervals. Learn to blur the lines between scales and use these devices to speak your own voice on the acoustic.

JAM TRACK - E Acoustic Blues - E7-A7-B7 - This acoustic jam is in the key of E and it’s a 12-Bar blues I-IV-V progression utilizing 7th chords. E7 is the I chord, A7 is the IV chord, and B7 is the V chord. Like many turnarounds, the turnaround here is on the V chord, B7. Since this is a major key I-IV-V blues progression it is wide open for many different soloing opportunities. Also, as soon as you hear 7th chords consider using Mixolydian mode over each chord.

What Relates to all the chords: Many options in this jam as it’s a major key I-IV-V 12-bar blues so a lot will depend on your playing style and what type of mood or sound you will want to create.

Try E Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic is often the first choice amongst blues players over I-IV-V blues progressions.

E Minor Pentatonic = E, G, A, B, D

Try E Major Pentatonic over all the chords for that sweet major sound. Remember that for most major key jams you can use Major Pentatonic over all the chords This will give you that sweet major bluesy sound that is quite different than the minor sound:

Major Pentatonic = 1, 2, 3, 5, 6

E Major Pentatonic = E, F#, G#, B, C#

E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be sweet sounding E Major Pentatonic.

E Major Pentatonic = E, F#, G#, B, C#

C# Minor Pentatonic = C#, E, F#, G#, B

(Same notes – just emphasize the root of the mode, E.)

Try E Dorian over all the chords. Because we know that both Major Pentatonic & Minor Pentatonic will work, we then know that the Dorian mode will also work. Dorian is considered more of a minor mode, but works great over major key I-IV-V blues, swings, and shuffle progressions.

Dorian works great over major key I-IV-V blues, swing, and shuffle progressions. Dorian has the minor elements in it (b3, b7) but also has some major elements, (2nd, 6th). So in these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both minor and major.

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales’ 2nd note is an E note. The answer is D. So E Dorian is the same as D major:

E Dorian = E, F#, G, A, B, C#, D

D major = D, E, F#, G, A, B, C#

(Same notes – just emphasize the root of the mode, E.)

To play in E Dorian just play all your D major scales but start on and emphasize the E notes. Try resolving your licks focusing on those E notes to bring out that minor Dorian tonality.

-Try mixing E Minor Pentatonic & Blues, E Major Pentatonic, and E Dorian over all the chords. Notice how going back and forth from the five-note pentatonics to the seven-note diatonic scales can be quite refreshing to the ear. Experiment and get creative!

Treat each chord like a separate event:

Switch Pentatonics over each chord. Over the E7 chord try E Minor Pentatonic & Blues or E Major Pentatonic. Over the A7 chord try A Minor Pentatonic & Blues or A Major Pentatonic. Over the B7 chord try B Minor Pentatonic & Blues or B Major Pentatonic.

Try Mixolydian mode over each chord. Mixolydian mode works great over 7th chords as there is that b7 in the 7th chords, (1,3,5,b7), as well as in the Mixolydian mode (1,2,3,4,5,6,b7). Mixolydian is often the mode of choice over dominant chords.

Mixolydian is an incredibly useful mode, especially for blues and jazz playing. The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th interval instead of a natural 7th:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Over the E7 chord try E Mixolydian (=A Major). Over the A7 chord try A Mixolydian (=D Major). Over the B7 chord try B Mixolydian (=E Major).

Try Dorian mode over each chord. Even though Mixolydian mode would be the mode of choice in this jam, Dorian will also work and you may want to try it over each chord to see how it sounds to your ears. Dorian is considered more a minor mode but works over major key I-IV-V blues progressions, (1,2,b3,4,5,6,b7)

Play E Dorian, (=D major), over the E7 chord. Play A Dorian, (=G major), over the A7 chord. Play B Dorian, (=A major), over the B7 chord.

Try mixing Minor Pentatonic and Major Pentatonic over each chord. This is a very cool technique that many blues players like BB King utilize all the time.

Try E Major Pentatonic over the E7 chord, then switch to E Minor Pentatonic & Blues over the A7 chord, then try E Major Pentatonic again when you get to the B7 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try Minor Pentatonic & Blues over the B7 chord. Get creative and have fun trying all these various techniques and devices. Add the ones you like best to your playing arsenal and rock them out!

LESSON 5: Acoustic top to bottom approach - play rhythm and lead together at same time - In this lesson learn how to combine rhythm and lead into one thing that fits together cohesively. Learn to add licks and fills without sacrificing the rhythm. Learn a killer practice exercise alternating a boogie rhythm with lead fills playing four beats on each. Play rhythm and lead at the same time while keeping the groove. Learn about swung 8th notes and triplets and how to build licks with them. Learn to apply these concepts and devices through a 12-Bar blues form. Learn tons of licks and killer fills that you can use to practice these techniques. These concepts and devices open many doors that will really open up your playing. You don't have to choose either one or the other, you can do both, rhythm and lead together.

JAM TRACK - D slow blues - The chords are Dm-Gm-Am. This track is a 12-bar blues i-iv-v progression. This one is very slow tempo wise and is in the key of D minor. We have a bluesy 12-bar pattern, but this one is in minor key, or leans toward minor key as the chords do not have 3rds in them. Each chord here is played with the root or 1, 5th, and b7th. But put all together in this progression there is more of a minor sound than major.

So this is an interesting jam as we really have to analyze and study the chords to get the complete solo picture. We have to go by sound and use our discretion as the chords do not have that tell tale 3rd in them. Often that is how we tell the difference between a minor chord and major chord, by examining the third.

Major chords will have major 3rds, and minor chords will have b3rds. A major chord is made of the intervals 1,3,5 and a minor chord is made of the intervals 1,b3,5.

What Relates to all the chords: As stated above, we lean more toward minor key in this jam and in fact if you try some Major Pentatonic or Mixolydian mode you will hear a few notes clash as those solo avenues are just too “sweet” sounding over these chord changes. Again, you must use your discretion. Try some of these and feel free to experiment and get creative:

D Minor Pentatonic & Blues over all the chords. Since this is a i-iv-v blues progression Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Dorian over all the chords. I like the Dorian mode here more than the Aeolian mode because each chord slides up a whole step to the 6th of each chord. For example on the D chord when it slides up, the high note slides up to a B note. That change is very prominent. The B note is in the D Dorian scale as it is the 6th. The corresponding note in the D Aeolian scale would be a Bb or flat 6th. Because it is a prominent note, you could use Aeolian and steer around it, but I suggest going with Dorian to be safe.

The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6th note:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. To play D Dorian in this jam we have to ask what major scales 2nd note is a D note. The answer is C. C major has the same notes as D Dorian:

D Dorian = D, E, F, G, A, B, C

C Major = C, D, E, F, G, A, B

(Same notes – just emphasize the root of the mode, D.)

So try playing all your C Major scales but start on and emphasize the D notes and you will be playing in D Dorian. Give it a try and get creative. If you want to learn more about modal playing, major scales, and Dorian please see the written lessons in this series.

Try mixing D Minor Pentatonic & Blues as well as D Dorian over all the chords for some cool tones.
Cool sounds can be created by switching from the 5-note pentatonic scales to the 7-note Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

Slow tempo jams like this one are excellent to play over each chord independently. You have a lot of time on each chord before the change happens. Try some of these suggestions and remember that this technique of treating each chord as a separate event takes some time to develop. So be patient and it will come with time and practice.

• Try moving Minor Pentatonic & Blues scales over each chord. This is a fun one to try as you get some cool combinations of sounds and intervals. Play D Minor Pentatonic & Blues over the D chord. Then play G Minor Pentatonic & Blues over the G chord. And then try A Minor Pentatonic & Blues over the A chord. Listen how each pentatonic outlines the chordal movements.

• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with slides to the 6th of each chord, Dorian again is a perfect choice as that interval is in the Dorian mode:

Dorian Mode = 1,2,b3,4,5,6,b7

• Play D Dorian, (=C major), over the D chord. Then play G Dorian, (=F major), over the G chord. And finally try A Dorian, (=G major), over the A chord.

Really listen for the chord changes and be sure to change scales appropriately as the changes happen. Go slow at first and be patient. Remember……….your playing is an evolution!

LESSON 6: The magic of open position acoustic licks and strategies - In this lesson learn how you can utilize open strings to develop new sounds and licks. Learn to liven up your playing with open strings to fill out the sound on your acoustic. Learn to develop a full "wash" of sound by building licks on top of droning open strings. Learn to "surround" fretted notes with killer sounding open string notes to develop awesome licks and sounds. Learn to create rhythmic motion with combination open string licks for amazing sounds and rhythms. Learn to use open strings to create unison and octave opportunities for colorful lick ideas and runs. Learn all kinds of open string devices and tricks to build interesting sounding lead licks. Learn skills to create rhythm/lead bluesy grooves and patterns utilizing open strings.

JAM TRACK - Dm Slow Blues in 6 - The chords are Dm7, Gm7, Am7, and A7#9 for the turnaround

This track is a standard minor key slow blues i-iv-v progression. The one-four-five is the meat and potatoes of blues rhythms.

What relates to all: Since we are in minor key we can instantly consider utilizing D Minor Pentatonic & Blues as one soloing option over all the chords:

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Remember in minor key a minor mode also usually relates to all the chords. That minor mode is usually Aeolian or Dorian.

Since we are in minor key and there is no major IV chord, (it’s a Gm7 iv chord in this jam), we can play D Natural Minor scales or D Aeolian mode, (same as F major), over all the chords:

D Natural Minor, (D Aeolian Mode) = D, E, F, G, A, Bb, C

F Major = F, G, A, Bb, C, D, E

(Same notes – just emphasize the root of the mode, D.)

So play F major scales over all the chords but start on and emphasize the D notes for D Aeolian. Resolve licks to the D notes and hang on some D notes at times to drive home the point that D is the root of the mode, the tonal center. That emphasis on the D notes will produce the Aeolian mode.

Treat each chord as a separate event:

On this track there is lot of time on each chord. That is a perfect scenario for treating each chord as a separate event. Listen closely for the changes and play through the rhythm a few times to get a feel for when the changes happen.

• Over the Dm7 chord try D Minor Pentatonic & Blues, D Natural Minor, (same as F major), D Dorian, (same as C major). For arpeggios try Dm, Dm7, Fmaj7, and Fm7b5. Also try Am Pentatonic and Em Pentatonic over the Dm7 chord.

• Over the Gm7 chord try G Minor Pentatonic & Blues, G Natural Minor, (same as Bb major), G Dorian, (same as F major). For arpeggios try Gm, Gm7, Bbmaj7, and Am7. Also try Am Pentatonic over the Gm7 chord.

• Over the Am7 chord try A Minor Pentatonic & Blues, A Natural Minor, (same as C major), A Dorian, (same as G major). For arpeggios try Am, Am7, Bbmaj7. Also try Bm Pentatonic over the Am7 chord.

• Over the A7#9 turnaround, treat that chord like a minor chord. So all the above A minor devices will work. In general treat most 7#9 chords like minor chords for that bluesy rock sound.

LESSON 7: Acoustic higher position licks and licks with chords and open strings - In this lesson learn to get the best of both worlds by playing in higher positions but not sacrificing open strings. Merge the best of both worlds with higher positions and open position playing. Learn killer licks while getting access to higher notes with open strings and unlock a new lick vocabulary. Learn to combine techniques into quick licks with flash. Learn to build creative lines and licks by substituting open strings for fretted notes. Add depth to your licks by "sandwiching" scale notes in between open strings. Learn all kinds of lick opportunities by adding drone strings as you play horizontally across the neck. Learn bluesy dominant 7th chords and how to move them up the neck and how to add lick patterns around them.

JAM TRACK - SLOW BLUES IN A - Chords are A9-D9-E9. This track is a major key I-IV-V 12-bar slow blues with the fast change to the IV chord. This jam utilizes 9th chords. Dominant 7th and 9th chords are very common in the blues.

This is a slower tempo blues jam so you have a long time on each chord. This is a perfect track for treating each chord as a separate event. You should hear that identifiable major key 12-bar I-IV-V pattern that alerts you to a wide-open jam. As well as soon as you hear 9th chords, consider using the Mixolydian mode over each chord.

What Relates to all the chords: Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities.

Try A Minor Pentatonic & Blues over all the chords for that minor bluesy vibe:

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Try A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

(Same notes – just emphasize the root of the mode, A.)

Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound.

Try A Dorian over all the chords. Dorian works great over major key I-IV-V blues, swings, and shuffles. A Dorian is the same as G major, (A-Dorian=G major).

A Dorian = A, B, C, D, E, F#, G

G Major = G, A, B, C, D, E, F#

(Same notes – just emphasize the root of the mode, A.)

So play all your G major scales but emphasize and start on the A notes and you have A Dorian.

Try mixing A Minor Pentatonic, A Major Pentatonic, and A Dorian over all the chords. Explore and see which sound best to your ears.

Treat each chord like a separate event:

• Switch Pentatonic scales over each chord. So over the A chord try A Minor Pentatonic & Blues or A Major Pentatonic. Then over the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. And over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.

• Try playing the Mixolydian mode over each chord. Mixolydian is the fifth mode of the major scale and is only one note different than the major scale. Mixolydian adds the b7th:

Mixolydian Mode – 1, 2, 3, 4, 5, 6, b7

Major Scale – 1, 2, 3, 4, 5, 6, 7

(Very similar scales – just one note difference.)

Mixolydian works great over 9th chords as there is the b7 interval in the 9th chord, (1,3,5,b7,9). That b7 interval is also in the Mixolydian mode (1,2,3,4,5,6,b7).

• Over the A9 chord try A Mixolydian (=D Major).

• Over the D9 chord try D Mixolydian (=G Major).

• Over the E9 chord try E Mixolydian (=A Major).

• Try mixing Minor Pentatonic and Major Pentatonic over each chord. Play A Major Pentatonic over the A9 chord, then switch to A Minor Pentatonic & Blues over the D9 chord. Then try A Major Pentatonic again when you get to the E9 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try A Minor Pentatonic & Blues over the E9 chord instead of the Major, or maybe Dorian – get creative and have fun with the jam!

LESSON 8: Acoustic licks over 2-5-1 progressions, strategies and techniques - In this lesson learn all about the 2-5-1 approach when playing the blues. This lesson will open all kinds of doors into your acoustic lead play. Learn killer devices to to set up blues chord changes. Learn to target chords and pull bluesy intervals into your licks to accentuate and blues up changes. Make huge solo statements by learning lots of 2-5-1 licks and arpeggio licks that lead or resolve to the next chords. Learn how to build bluesy arpeggio licks and how to string them together for maximum effect. Learn minor versus dominant licks and how to dirty up the jazzy or bluesy sounds. Learn to produce killer lead lines by ascending and descending bluesy arpeggios to lead into and resolve chord changes. Learn to pull together all the concepts you learn in this course and build bluesy licks with these approaches.

JAM TRACK - E Walking Blues - The chords are E5-A5-B5 - This jam is in the key of E and it’s a I-IV-V 12-Bar blues progression. E is the I chord, A is the IV chord, and B is the V chord. The turnaround is on the V chord, B. This is a very standard blues progression that you probably have heard many times. Know the sounds of these rhythms, as when you hear them it will automatically trigger certain soloing avenues.

The first thing to note about this jam is that it is a major I-IV-V blues progression. Even though the chords used are 5th chords, which only have roots and fifths, they are still considered major in this progression. They are embellished with the 6th intervals. Soon you will get used to hearing these I-IV-V blues type progressions and will able to identify them immediately.

These very common blues progressions, shuffles, and swings will point you toward very definite lead guitar avenues. These are wide open for many different soloing options.

What Relates to all the chords:

There are many have avenues here so a lot will depend on your playing style and what type of mood or sound you want to create. Try some of these:

For that bluesy minor sound try E Minor Pentatonic & Blues over all the chords. Minor Pentatonic & Blues sounds great over major key blues progressions:

E Minor Pentatonic = E, G, A, B, D

For that sweet major sound try E Major Pentatonic over all the chords. Remember that for any major key jam you can use Major Pentatonic over all the chords This will give you that sweet major bluesy sound that is quite different than the above minor sound:

E Major Pentatonic = E, F#, G#, B, C#

E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor and contain the same notes:

E Major Pentatonic = E, F#, G#, B, C#

C# Minor Pentatonic = C#, E, F#, G#, B

(Same notes – just emphasize the root of the mode, E.)

If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be E Major Pentatonic and have that real major happy sweet sound.

Try E Dorian over all the chords. Because we know that both Major Pentatonic & Minor Pentatonic will work, we then know that the Dorian mode will also work. Dorian is considered more of a minor mode, but works great over major key I-IV-V blues, swings, and shuffle progressions.

Dorian has the minor elements in it (b3, b7) but also has some major elements, (2nd, 6th). So in these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both minor and major.

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales’ 2nd note is an E? The answer is D. So E Dorian is the same as D major:

E Dorian = E, F#, G, A, B, C#, D

D major = D, E, F#, G, A, B, C#

(Same notes – just emphasize the root of the mode, E.)

To play in E Dorian just play all your D major scales but start on and emphasize the E notes. Try resolving your licks focusing on those D notes to bring out that minor Dorian tonality.

Try mixing E Minor Pentatonic & Blues, E Major Pentatonic , as well as E Dorian over all the chords for some killer sounds. Notice how going back and forth from the five note pentatonics to the seven note diatonic scales can be quite refreshing.

Treat each chord like a separate event:

In this jam the chords are moving pretty slow so you have a lot of time on each chord. This is perfect for treating each chord as a separate event. Remember to listen to the rhythm and time your changes so you change your scale or landing notes as the chords change.

Try moving Minor Pentatonic & Blues over each chord. Play E Minor Pentatonic & Blues over the E chord and then try A Minor Pentatonic & Blues over the A chord, and then B Minor Pentatonic & Blues over the B chord.

Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord, and then try A Major Pentatonic over the A chord and B Major Pentatonic over the B chord.

Try mixing up the above Minor Pentatonic and Major Pentatonic over each chord. This is a very cool technique that many blues players like BB King often utilize.

Play E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try Major Pentatonic over the B chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try Minor Pentatonic & Blues over the B chord. Try it out and get creative with it!

Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th and b7th off the E and A chords, Dorian again is a perfect choice as those intervals are in the Dorian mode, (1,2,b3,4,5,6,b7).

Play E Dorian, (=D major), over the E chord, A Dorian, (=G major), over the A chord and B Dorian, (=A major), over the B chord. Get creative and get lost in the track!

LESSON 9: Acoustic Blues double stops and double stop licks and soloing part 1 - In this lesson learn all about double stops and double stop licks. These are great devices and techniques to fill out and thicken up your acoustic licks and lead lines. Learn to create and play double stops all over the neck. Create killer sounds and licks using double stops that harmonize scales. Learn to connect doublestop ideas chromatically for bluesy sounds. Learn to create bluesy dominant sounds with double stops. Create double stop licks using 3rds, 4ths, harmonized 3rds, and with the b5 interval. Learn to combine double stop concepts and phrase licks to fit into bluesy playing while blending them in with single note lines.

JAM TRACK - C 12-Bar Blues - Chords are C-F-G. Here is a very traditional standard I-IV-V 12-bar blues in the key of C. It has that unmistakable 12-bar blues common rhythmic pattern. As soon as you hear this pattern it should kick off in your head that this is a standard I-IV-V blues jam and that there will be many soloing options.

Like many blues jams this one starts off on the V chord. That is a very common blues device, “let’s take it from the V”. This jam features a pinky embellishment on each chord that adds the 6th interval. That is a very common traditional embellishment in blues rhythms.

What Relates to all the chords: Try C Minor Pentatonic & Blues over all the chords. Since this is a major I-IV-V blues progression Minor Pentatonic & Blues will give killer bluesy sounds and is probably the first choice for many players.

C Minor Pentatonic & Blues = C, Eb, F, Gb, G, Bb

Try C Major Pentatonic over all the chords. Major Pentatonic will give you that sweet major bluesy sound. Remember that for most any major key jam you can use Major Pentatonic over all the chords.

Major Pentatonic relates to all in this jam.

C Major Pentatonic is the same as A-minor Pentatonic. C major and A minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic and have that sweet major happy sound.

By shifting those scales to the root, C, they take on that real major happy sweet sound as opposed to the darker, bluesy minor sound.
And we want that sweet major sound for this jam. Remember that it all comes down to the sounds, moods, and textures that you want to create with the music.

C Major Pentatonic – C, D, E, G, A

A Minor Pentatonic – A, C, D, E, G

(Same notes – just emphasize the root of the mode, C.)

Try C Dorian over all the chords. Because we know that both major pentatonic & minor pentatonic will work we then know that the Dorian mode will also work. Remember Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swings, and shuffle progressions. The Dorian mode sounds great over minor chords.

The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key. Since Dorian is the second mode in any major key, to play C Dorian ask what major scales 2nd note is a C note. The answer is Bb. Bb Major has the same notes as C Dorian:

C Dorian = C, D, Eb, F, G, A, Bb

Bb Major = Bb, C, D, Eb, F, G, A

(Same notes – just emphasize the root of the mode, C.)

C Dorian is the same as Bb major, (C Dorian=Bb major). So play all your Bb major scales but start on and emphasize the C notes for that killer Dorian tonality.

Also try mixing C Minor Pentatonic & Blues, Major Pentatonic, and C Dorian over all the chords. Notice the cool differences between the major versus the minor and also the five note pentatonics versus the seven note diatonic scale. Cool stuff!

Treat each chord like a separate event:

• With this 12-bar blues jam there is enough time on each chord to treat each chord as a separate event. Be sure to time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over a given chord.

• Try moving Minor Pentatonic & Blues over each chord. Play C Minor Pentatonic & Blues over the C chord, F Minor Pentatonic & Blues over the F chord, and G Minor Pentatonic & Blues over the G chord.

• Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, F Major Pentatonic over the F chord, and G Major Pentatonic over the G chord.

• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice as that is a key interval is in the mode:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Play C Dorian, (=Bb major), over the C chord. Then play F Dorian, (=Eb major), over the F chord. And then try G Dorian, (=F major), over the G chord. Listen for the chord changes and change your mode as the chords change. Experiment and remember that this device takes time to get proficient. It will get better and quicker over time. Keep practicing the technique with jam tracks and in different keys.

LESSON 10: Acoustic Blues double stops 6ths and double stop 6th licks and soloing part 2 - In this lesson learn all about sixth intervals and how to incorporate them into your playing. Learn a huge batch of licks and turnarounds utilizing these double stops. Once you grasp these concepts all kinds of licks and turnarounds will start popping up in your playing. Learn to combine these intervals with other licks/runs/chords/devices that you learned throughout this course. Learn to elaborate on turnarounds to create new killer sounds. Learn to add double stops to integrate your rhythm playing with lick based playing, playing both at the same time. Improve your overall lick vocabulary with double stops.

JAM TRACK - A7 Shuffle - Chords are A7-D7-E7 - Here we have a I-IV-V 12-bar blues shuffle feel featuring all 7th chords. Dominant 7th chords are very common in the blues. Remember that the formula for a 7th chord is 1,3,5,b7. It has the b7 or dominant 7th in it, very important for blues. Again you should hear that identifiable 12 bar I-IV-V pattern that alerts you to a wide-open jam. As well as soon as you hear 7th chords consider using Mixolydian mode over each chord.

What Relates to all the chords: Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities. It just depends on what type of sounds you prefer or what you want to get across, minor bluesy or sweet major or both.

Try A Minor Pentatonic & Blues over all the chords for that minor bluesy vibe.

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Try A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

(Same notes – just emphasize the root of the mode, A.)

Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound.

Try A Dorian over all the chords. Dorian works great over major key I-IV-V blues, swings, and shuffles.

The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6th interval:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. So to play A Dorian ask what major scales 2nd note is an A note. The answer is G. G major has the same notes as A Dorian. So play G major scales but start on and emphasize the A notes and you have A Dorian. If you want to learn more about modal playing and Dorian please see the written lessons in this series.

A Dorian is the same as G major, (A Dorian=G major).

A Dorian = A, B, C, D, E, F#, G

G Major = G, A, B, C, D, E, F#

(Same notes – just emphasize the root of the mode, A.)

So play all your G major scales but emphasize and start on the A notes and you have the cool minor sounds of A Dorian. Remember to keep going to back those A notes and make that the tonal center.

Try mixing A Minor Pentatonic, A Major Pentatonic, and A Dorian over all the chords. Explore and see which sound best to your ears.

Treat each chord as a separate event:

Try switching pentatonics over each chord. Over just the A7 chord try A Minor Pentatonic & Blues and A Major Pentatonic. Over just the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the E7 chord try E Minor Pentatonic & Blues or E Major Pentatonic.

Because the chords in this jam are dominant chords you can try the Mixolydian mode over each chord. Mixolydian mode sounds great over dominant chords like 7ths and 9ths. This is an incredibly useful mode, especially for blues and jazz playing.

The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th interval instead of a natural 7th:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Try this mode over dominant chords like 7th and 9th chords when treating each chord as a separate event. Mixolydian is the 5th mode in any major key. Remember, the key is to shift the tonal center to the root of the mode.

So to play A Mixolydian over the A7 chord ask what major scale’s fifth note is an A note. The answer is D. The fifth note of a D major scale is an A note. So play D Major scales over the A7 chord but emphasize the A notes for A Mixolydian. D Major and A Mixolydian consist of the same notes:

A Mixolydian Mode -A, B, C#, D, E, F#, G

D Major scale – D, E, F#, G, A, B, C#

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. So be sure to switch to the root of the mode.

Over the A7 chord try A Mixolydian, (same as D Major). Over the D7 chord try D Mixolydian, (same as G Major). Over the E7 chord try E Mixolydian, (same as A Major).

Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example play A Major Pentatonic over the A7 chord, then switch to A Minor Pentatonic & Blues over the D7 chord. Then try A Major Pentatonic again when you get to the E7 chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try A Minor Pentatonic & Blues over the E7 chord instead of the major, or maybe Dorian. Get creative and have fun jamming with these tracks! And remember, your playing is an evolution.