This lesson is going to familiarize you with the chord tones within the scale
patterns. Yes, that's right now you have to learn the notes instead of blazing
trough patterns. Why should you learn them... Because these are the color tones.
The tones that make the scale and chord progression melt into one harmonious
melody, or electrifying solo. So without further adieu... the charts!
Let's start by taking the Dominant 7th chords in the Key of G.
If you can't read my chord charts here's how. The numbers on the left of the
diagram represent the fret numbers. The numbers on the diagram represent the
degree of the major scale that the notes are. Example: 5= D (the 5th) on the
G7 diagram. To play it just place your fingers where the numbers are on the
diagram
Now Let's look at the chord tones for each of the chords
Now let's find the chord tones on the fretboard and compare it to the Mixolydian
Mode. You might ask why the Mixolydian Mode. It is because when you play Dominant
7th chords, the Mixolydian Mode fits the best because it gives you the flatted
7th note which gives Dominant 7th chords their sound. I didn't chart out C7
and D7 in relation to C Mixolydian and D Mixolydian, but I figured that you
could figure out how to do this on your own.
Now that you have studied the relationship of the chord tones to the scale
pattern you should try soloing with these notes for that bluesy feel that you
get from playing the Mixolydian mode. Sound Hard?? It really isn't, all you
have to do is think of the chord tones. Play the chord tones as opposed to the
scale. Use the other scale tones that are not chord tones as links to get a
smooth transition from one note to the next. Try using slides, hammer-ons, and
trills from a scale note to a chord note. This will bring out the flavor in
the chords. I really like hitting on the I chord's (G7) 3rd degree note, in
this case it's B. It has a bluesy sound that the Mixolydian Mode and Dominant
7th chords really bring out.
This next section will compare G7's chord tones to the G Blues Scale, and it
will show you why the Mixolydian mode fits a little bit better because the Mixolydian
mode contains all of the chord tones. the Blues Scale however omits a couple
notes, but it doesn't leave any
bad notes for you to hit. Let me show
you...
G7
|
The G Blues Scale
| 1 |
♭3 |
4 |
♯4 |
5 |
♭7 |
| G |
B♭ |
C |
C♯ |
D |
F |
|
As you can see the Blues Scale only contains the root and the flatted 7th
note. So now the question is why do you use the Blues Scale? I'll show you
with more charts. What you want to notice is that the chord tones for G7,
C7, and D7 come together to form the Minor Pentatonic Scale, which is the
Blues Scale without the added #4 (which is the only note that is not contained
in any of the chords).
|
The G Blues Scale
| 1 |
♭3 |
4 |
♯4 |
5 |
♭7 |
| G |
B♭ |
C |
C♯ |
D |
F |
|
Why do we use the Blues Scale when it adds a note that is not included in the Minor Pentatonic Scale? That question will
be answered by my lesson on the Flat-Five Substitution
Next, I will teach you
to play over the 12 bar blues chord changes. I'll show you how to
bring out the chord tones while playing over the Mixolydian
Mode. To learn this, I have to show you all the notes from the chords
and the mixolydian modes relative to the chords (example: G Mixolydian
is relative to the G7 chord). I will give you an example in the key of
G. (shown
below)
G Mixolydian
| Root |
II |
III |
IV |
V |
VI |
VII |
Octave |
| G |
A |
B |
C |
D |
E |
F |
G |
C Mixolydian
| Root |
II |
III |
IV |
V |
VI |
VII |
Octave |
| C |
D |
E |
F |
G |
A |
B♭ |
C |
D Mixolydian
| Root |
II |
III |
IV |
V |
VI |
VII |
Octave |
| D |
E |
F♯ |
G |
A |
B |
C |
D |
Take a look at the 3 mixolydian modes. Notice that the change in notes...
Changes from G Mixolydian to C Mixolydian: B changes to B♭
Changes from G Mixolydian to D Mixolydian: F changes to F♯
Changes from C Mixolydian to D Mixolydian: F changes to F♯ and B♭ changes to
B
Now, when you are playing over the 12 bar blues, you want to play G Mixolydian
over the G7 chord, C Mixolydian over the C7 chord, and D Mixolydian over the
D7 chord. The hard part is changing between the different modes while bringing
out the chord tones. Here's how I do it...
After looking at the changes in the the modes you must look at the 12 bar
blues (shown below). When the chords change from G7 to C7, try hammering from
B to Bb. By doing this you will accentuate the chord change because G7 has a
B while C7 has a Bb. You will also play the only note that is different between
the G Mixolydian and C Mixolydian Modes. To bring out the C7 chord try playing
the chord tones to further accentuate the C7 chord. When the chords change from
C7 back to G7, try going from B♭ to B, then playing the G7 chord tones. Once
again you will have accentuated the chord change. When the chords change from
C7 to D7, try going from F to F#, then play the D7 chord tones. Unlike the other
chord changes this one leaves 2 changes in the notes of the modes. I like to
use the F♯ because it is also a chord tone, and it does a better job in accentuating
the D7 chord. Are you getting the hang of my technique? The basic formula is
to play the note change then play the chord tones. All you have to know is the
12 bar blues and the change in the notes.
