Treat each chord like a separate event: In this jam there are two full measures on each chord and the chords
move slowly. So there is lots of time on each chord to play over them independently. Check out the arpeggio
lesson on page 88 for an in depth study on playing arpeggios over each chord in this progression. Try some of
these over each chord:
- Over the Em7 chord try E Aeolian (=Gmajor), E Dorian (=Dmajor), E Minor Pentatonic & Blues, and Em, Em7,
and Em9 arpeggios. - Over the A7 chord try A Mixolydian mode (remember that Mixolydian mode works great over 7th chords and
A Mixolydian = D Major). Also try A Major Pentatonic, and A Major and A7 arpeggios. - Over the Dmaj7 chord try D Major Scales, D Lydian (=A major) - D major and D Lydian differ by one note as
Lydian has a #4 and many players prefer that that the natural 4th over maj7 chords. Also try D Major Pentatonic,
and Dmaj7 arpeggios. - Over the Gmaj7 chord try G Major Scales, G Lydian (=Dmajor), G Major Pentatonic, and G maj7 arpeggios.
- Over the C#m7b5 chord try C# Locrian (=D major) – Locrian is the mode of choice over m7b5 chords. Also try
C#m7b5 arpeggios. - Over the F#7 chord try F# Mixolydian (=Bmajor), F# Major Pentatonic, and F# Major and F#7 arpeggios
- Over the Bm chord try B Aeolian (=D major), B Dorian (=A major), B Minor Pentatonic & Blues; and Bm, Bm7,
and Bm9 arpeggios.
TRACK 6 – A7 Shuffle Blues A7-D7-E7 Key of A 102 BPM 3:23 min
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 that 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. Also, as soon as you see 7
th
chords consider using Mixolydian mode over each chord.
What Relates to all the chords: you have many options here, much depends on what type of sound you prefer
or what mood you want to get across, minor bluesy or sweet major or both, try these:
- A Minor Pentatonic & Blues over all the chords for that minor bluesy vibe.
- A Major Pentatonic over all the chords for that sweet major sound. A Major Pentatonic is the same as F# Minor
Pentatonic. A Major and F# Minor are relative major and minor. Play all your F# Minor Pentatonic scales, but start
on and emphasize the A notes and it will be A Major Pentatonic. - A Dorian over all the chords - Dorian works great over major key I-IV-V blues, swing, and shuffle progressions.
A-Dorian is the same as G major (A-Dorian=G major). So play G major scales but emphasize and start on the A
notes and you have A-Dorian. - Mix A Minor Pentatonic & Blues and A Major Pentatonic as well as A Dorian over all the chords.
Treat each chord like a separate event:
- Switch Pentatonics over each chord:
- Over the A7 chord try A Minor Pentatonic & Blues or A Major Pentatonic
- Over 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
- Try Mixolydian mode over each chord: Mixolydian works great here because both the Mixolydian scale and 7th
chords both contain the b7. - Over the A7 chord try A Mixolydian (=D Major)
- Over the D7 chord try D Mixolydian (=G Major)
- Over the E7 chord try E Mixolydian (=A Major)