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: 1 = G (the root note)
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. Note: unlike my other patterns, the first fret (far left)
represents the open strings.
G7 Chord Tones
|
G Mixolydian Mode
|
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 |
b3 |
4 |
#4 |
5 |
b7 |
| G |
Bb |
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 |
b3 |
4 |
#4 |
5 |
b7 |
| G |
Bb |
C |
C# |
D |
F |
|
The next question I see coming is why use the Blues Scale when it only adds
a note that is not included in the Minor Pentatonic Scale? That question
will be answered in Lesson 31: The Flat-Five Substitution
