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Play Solos over Minor Blues Track in A

I'm going to show you the first simple thing you can do, you might be able to guess, it's in pentatonic minor, but don't worry. We'll go past Pentatonic in this video.  Click play to learn how to play solos over Minor Blues Track in A.


Transcription


Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. 

Be sure to check out The Ultimate Modal Poster!

Alright today, we're jamming over a minor blues track everything you need to know about. This track is in the video description. 

 
There's a chart that shows the chords were using the shapes were using the structure of the jam and more importantly the scale shapes that we're going to use to solo over on the top of this. It's a very simple Gem and it's very easy to sound great on top of a track like this. So I'm going to show you the first simple thing you can do you might be able to guess it's in pentatonic minor, but don't worry. We'll go past Pentatonic in this video. So as I've explained before we're going to do is Find a on the 6th string on the fifth fret and then we can just play the shape and atonic minor. And what I'm going to do this time is I'm only going to focus on these four notes right here on the 3rd string and on the 4th string goes for little notes your fifth fret 7th fret and I'm literally only going to play those notes for my first guitar solo. 

 
This is an interesting exercise and you'll see why for a few different reasons.
You have to be a little more creative when you can. Last notes because you can't go crazy. You can't just go up and down you have to start thinking about when to play the note as opposed to this what note to play you can start thinking about should I slide up to the note? Should I slide down? Should I do a pull off to that note should the no be staccato the god. Oh, you know, these are kind of questions that are hard to ask yourself when you're thinking about shapes and your fly at all over your fretboard. 

 
But since we're only working with four four little notes, we can really spend the time to think about what we're doing and it makes a big difference in the sound of are playing so I'm going to play Four notes in the only other thing I'm going to do here for the solo is a prebend on the third string. So what I'm doing on the third string on this note, I'm going to bend the note before I even pick it like this. Then I'm going to pick the string. 

 
This is a very effective little tool here and it kind of it's hard to describe the emotional content of this but you'll feel it is very kind of depressing kind of smooth and just a little little heartbreaking but take a listen to how it sounds when we put it in context here. 

 
So once again, all I'm doing is playing four notes and one prebend and check out. Good, this is going to sound so that pretty bad is wonderful. 

 
I'm gonna use that all day over a jam. Like this. 

 
One thing I would advise you to do is really spend the entire Jam just playing those four notes. It's a very very good practice and I swear to you that you're going to be forced to work in a part of your brain that you might not be working when you're thinking lead guitar and that's the difference between, you know, making your lead guitar sound good. It doesn't matter how many shapes you know, it doesn't know how many scales you know, what matters is how do you play those things? So when you when you get rid of all the Clutter when you stop thinking about all the shapes and you can just focus on for little notes, then you can start really focusing. Focusing on how they sound how they feel and what it comes across when somebody's listening to it. Okay. Our next step would be to add in a little bit of the Dorian scale. The Dory scales are tricky scale to use the shape is going to be very convenient here. 

 
What we're going to do is just eight fret 7th fret fifth fret 8th fret 7th fret if you want to continue you can slide essentially a Dorian is the same thing as G major. So if you want to think of this as being in the G Major scale, you can think of the shape as just using the G major. A shame but really if you look at how it connects to Pentatonic very simple here. 

 
That's Dorian. And so all the notes of pentatonic minor are also in Dorian, but Dorian has extra colors extra notes we can grab and that'll be a problem over a lot of the courts actually the problem over every single cord except a minor 7, but since most of this Jam uses the a minor 7 chord, that means I can use Dorian over most of the jam. So what I'm going to do now is I'm going to play pentatonic minor over. 

 
Much the entire thing but over the a minor 7 chords, I'm going to grab a lot of these notes from the Dorian scale or the G Major scale whatever you want to think of it as and then you'll see me switching back and forth between those two shapes. 

 
And again, that's a pentatonic back to Dorian. 

 
Sonic tonic for the D Minor 7 chord and you can I mean you can totally feel the difference between the door and scale in the pentatonic scale. Out of contrast each other every time I feel that that note from Dorian, it's I in this case, it's an F sharp and it's the natural six note in the a minor scale has a lot more brightness to what's normally a pretty dark scale. Okay. So the last thing here I completely ignore the fact that you can use the a minor scale over almost this entire Jam. 

 
There's going to be one problem though is when the E7 chord comes up. You can't play the a minor scale over 87, you'll have to play a harmonic minor instead. The reason for that is just because E major re7 It has this note G sharp in it. 

 
And there's no G sharp in the key of A minor. So when we were doing we play the entire a minor scale, you will not run into a G-sharp.
So we have to do is we have to sneak in a G-sharp for that E7 chord anytime that E7 chord comes up. We're going to just grab a little bit a G-sharp there we can do it here underneath our a on the first string we can do it here underneath a on our fourth string we could do an a right underneath a on her sixth ring. We're probably not gonna be soloing down here. So what you're going to hear me do is you're going to be hearing me play. 

 
Hi, I'm going to play the a minor scale all the way through this entire Jam except when that E7 chord comes up when he 7 comes up. I'll grab just a little bit of G sharp and that will essentially be me playing in a harmonic minor. I don't have to play up and down the entire harmonic lighter shade just to say I'm playing at harmonic minor. I just need a little bit of that scale. So let's check out that all right A minor start to finish and then when every seven comes up, I'll be playing a little a harmonic minor instead.
Okay, so G sharp is going to come up here right here and I'm back to the a minor scale, right? 

 
He'll stay in a minor lots of pentatonic and now they're bringing a little bit of that G sharp to get says alright one more time and you'll hear that seven.
Tonic minor minor scale. 

 
Okay, then you're gonna come that E7 chord. I'll play the G sharp.
All right, and you hear the effect of that a lot more exotic. There's a lot of flare. There's a lot of spice anytime you enter that. Dominant 5 chord play little harmonic minor you're going to get that kind of that zest going on. So it's nice to spice things up. I wouldn't really recommend it every single time. 

 
But certainly to change the sound up from just you know, regular pentatonic minor. I think it makes a big difference. 

 
So hope you enjoyed this and I hope it helps.




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