Greetings, blues lovers. Here's the second in a three-part study on what scales work best for soloing over what chords. Last time we dealt with chords in the major family. This time we'll look at 7th, 9th, 11th and 13th chords from the dominant seventh family of chords.
In the blues, it's common to use dominant chords on the root, 2nd, 4th, and 5th chord in the key that you are playing. We are in the key of A so this will mean A7th, B7th, D7th and E7th. You may use the 9th, 11th, and 13th chords as color.
The most basic blues song might just hang on our 1 chord A7th. This type of song relies heavily on repetition and interaction between the vocals and guitar riffs. Songs that use the 1, 4, and 5 chord in some combination are most common.
They offer a sense of motion as you change from chord to chord in the progression. They all ultimately lead back home to our 1 chord.
Here is an example of that with a number over each chord to show how many strums to give each chord.
4 4 8
8 8 8 8
A7 D7 A7 D7 A7 E7 A7
A slightly more complex progression might
include our 2 chord B7th.
4 4 8 8
8 4 4 8
A7 D7 A7 D7 A7 B7 E7 A7
These will be the type of progressions you normally are dealing with. Now let's look at some scales that will sound good over every chord in the progression. As usual pentatonic minor, minor blues,
Dorian pentatonic, and Dorian blues are the most useful over the entire progression.
Remember when you're playing scales that you can start and end with the notes that match the particular chord you are playing.
You are trying to thread that needle and weave together a melody that will outline and support your chord progression.
The two Dorian type scales will have a little trouble if you play them over a 4 chord that is minor. Other than that, they work well whether you build your progression on Major, Minor or Dominant chords.
Your best approach is to play a scale that works over everything or to change the position of your scale so that it starts on the same note as the chord you happen to be playing in the progression.
Some scales will work best over certain chords in the progression.
For example, A mixolydian type scales sound great over A7 and E7 but not over B7 or D7. Now if you change the root of your scale to match the root of those chords you will be able to solo right over them till the next chord comes. Remember, you can always bail to pentatonic minor or minor blues scales if an unfriendly chord should appear. You can also just play a scale that matches the particular chord.
Here are some other scales that sound good over A7 or any of its extensions. They may need to be moved or changed when you are not on the 1 chord.
If you have any questions, mail or E-mail them to me at the store and I'll be happy to print the answer. Here are the address':
Marvin@hmusic.com
or by mail:
Marvin Allen c/o
Herreid Music
2148 Market St.
Redding, CA 96001
