What to play over each chord
Keep box 1, but land on each chord's 3rd or b7 as it arrives.
- Root
- 3rd
- 5th
- b7
- Scale
- Root
- 3rd
- 5th
- b7
- Scale
- Root
- 3rd
- 5th
- b7
- Scale
There are three levels. Move up one level only when the one below is automatic.
Level 1 — one scale. A minor pentatonic (or blues scale) over all 12 bars. It works. It sounds like rock-blues. This is where most players stop.
Level 2 — one scale, but land on the chord tones. Keep box 1, but when the chord changes, land on its 3rd or b7. This is the biggest single upgrade and the main goal of this plan.
| Chord | Notes (R 3 5 b7) | Target note | Where in box 1 (fret 5 area) |
|---|---|---|---|
| A7 | A C# E G | C# (the 3rd) | G string fret 6, or bend G string fret 5 (C) up a half step |
| A7 | G (the b7) | D string fret 5, B string fret 8 | |
| D7 | D F# A C | F# (the 3rd) | B string fret 7, D string fret 4 |
| D7 | C (the b7) | E string fret 8, G string fret 5 | |
| E7 | E G# B D | G# (the 3rd) | D string fret 6, or bend B string fret 8 (G) up a half step |
| E7 | D (the b7) | A string fret 5, G string fret 7 |
Two rules that fall out of the table:
- Over the IV chord (D7), the minor pentatonic sounds right. The C in A minor pentatonic is the b7 of D7. The C# that sounded sweet over A7 now clashes. So: major-ish over I, minor over IV.
- Over the V chord (E7), aim for G# or D. Most players ignore the V chord. Hitting its 3rd is what makes a solo sound like it knows where it is.
Level 3 — change scale per chord. A mixolydian or A major pentatonic over A7, D mixolydian over D7, E mixolydian over E7. This is the BB King and Robben Ford sound. Treat it as a week 6 to 8 topic.