1Ī7-E7 chord changes guide tones and intervals. 1ĭ7-A7 chord changes guide tones and intervals. Guide tones - The tables show which that are the guide tones in different chord changes.Ī7-D7 chord changes guide tones and intervals. By comparing A7, D7 and E7, it will be clear which the match and the guide tones are. Details can be seen under 'instructions' in the specific jam track window. But one way to relate to these divergences is to adjust the soloing depending on which chord is played over. But since it sounds good, this is not a problem. Interestingly, in blues, a minor scale (which tends to be a pentatonic scale type) is often used over major or dominant chords, which generate several note mismatches.

Scale and chord relationship - Scales that are suitable to use over chords are normally including the same notes as the chords, or at least including the majority of notes as the chords.

The secondary chords are although important to bind together phrases and can be seen as passing notes. The remaining notes in the scale are also important, but can be seen a secondary. So, if the A7 chord is played, A, C#, E and G are especially critical notes. Primary and secondary notes - One of the most essential aspects of soloing over scales is to accentuate notes in the chords. Temporarily end on E can be great as well, since it will give a feeling of anticipation (but you must follow up in these cases). Compare by ending phrases over the A7 chord with A and E notes and hear how ending on A will give the phrase more of the character that it's 'finished' whereas ending on E will have a character of that the phrase still waiting to be continued. When you play phrases over a chord, it will generally sound good to finish the phrase with the note which is the root of the chord (A is the root of the A7 chord etc.). For example, if your intention is to play the G# on the 9th fret you can bend the second string on the 8th fret a semi-tone up. You can also use bends when target guide tones, by landing on the fret before and make a 1/2 tone bend. For example, the b7 interval in A7, which is G, can sound great as a target note here. Another note to target in the change to D7 is the b7 interval, that is C in the case of D7.įor the D7-A7 chord changes, try different target notes and observe how they sound like. These 'extra notes' is also called guide tones, which is notes that changes when the chord changes (for more theory, see 'Explanations' below).Įspecially on the second A7-D7 chord change, is a good idea to target the F# note since the D7 chord will span over two bars this time (it's also often easier to hear this change come, anticipate it). Another possible adjustment is to add the G# note over the E7 chord. Because of this, try to avoid G or replace G with F# over the D7 chord (not necessary in all occasions). You can play the A Minor Pentatonic over all chords, but D7 will clash with the 5th scale degree (G), which can generate dissonance. Dorian blues guitar - lesson 7 Instructions.The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category 'Performance'. This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category 'Other. The cookies is used to store the user consent for the cookies in the category 'Necessary'. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category 'Functional'. The cookie is used to store the user consent for the cookies in the category 'Analytics'. These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.

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