Blues soloing part 4

In our last installment we looked at the mixolydian mode, the fifth mode of the major scale and applied it to our I, IV, AND V chords. This time, we’re going to apply arpeggios to the three chords in our progression.
The G7 arpeggio contains the notes G B D F. The first two diagrams below  show the notes and chord tones for the G7 chord starting on the root. The C7 and D7 arps are also shown from their respective roots on the 8th and 10th frets . Arpeggios are a particularly useful soloing device as they outline the chord tones if you specifically target each passing chord or add varying degrees of colour or tension when superimposed over different chord types.

Here are the chord tones for all three chords

The chart above will enable you to experiment with positions for all three arpeggios up to the 15th fret. Start on any G7  chord tone. When the chord changes to C7, resolve to the nearest note of the new arpeggio. Work your way through the progression, resolving from chord to chord as they change. As you become more familiar with the positions of each arpeggio, you will find it easier to resolve to the next chord in the progression, and to mix your arpeggio playing with some of the other approaches we have looked at.

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