#1
So if you use a 12 bar blues with dominant 7th chords, I-IV-V progression, in C for argumnents sake,which key is it in and what would you use?

Like Major/Minor? Because some notes from the Dominant 7th chords aren't in either the major or minor scale, so which would it be? C major or minor? And say, what would you solo over it with? Because C maj or min scale doesn't have all the notes as doesn't the pentatonics for C...

Sorry if it doesn't make sense but I was told you use dominant 7th's chords, and I was thinking wtf woyuld you solo over it with..?
#2
It is ok to play notes that are not technically 'right' as long as it sounds good (which is a matter of oppinion).
If you are looking to be completely diationic in your soloing (which defeats the purpose of a blues IMO) you use a chord-scales appropriate to each chord.

one of the most basic iterations of a blues progression (in C)--

4 bars of C7 (C mixolydian)
2 bars of F7 (F myxolydian)
2 bars of C7
2 bars of G7 (G Mixolydian)
2 bars of C7 (usually a turnaround goes here, can be as simple as C7-G7 or be something like C7 A7 Dm7 G7#9#5) (follow the rules stated above, or if using a more complex turnaround use notes in the arpegios and play over the ii-V-I)

these scales however, are guidelines, at the end of the day play whatever you want, as long as you mean it (an out note is ok, a note you did not intend is not).
Last edited by tehREALcaptain at Jan 6, 2010,
#3
You'll often see dominant 7th chords used in 12 bar blues. I assume you are asking about a progression that goes C7-F7-G7.

In the blues you can use either C major pentatonic or C minor pentatonic over that progression. There's a lot of play between the minor 3rd and major 3rd. It's one of the things that gives the music that blues feel. Those aren't your only choices, but it's a good place to start.
#4
Quote by jsepguitar
You'll often see dominant 7th chords used in 12 bar blues. I assume you are asking about a progression that goes C7-F7-G7.

In the blues you can use either C major pentatonic or C minor pentatonic over that progression. There's a lot of play between the minor 3rd and major 3rd. It's one of the things that gives the music that blues feel. Those aren't your only choices, but it's a good place to start.
What he said There a bunch of other options, but maj/min pent are the probably the simplest, and both will sound cool.
#5
Use both C Major Pentatonic and C Minor Pentatonic together. Then change that all up to F and G for the appropriately.

Here's everything you're going to need to know about this concept for a long time...

http://lessons.mikedodge.com/lessons/AdvPent/AvdPentTOC.htm

READ through the Introduction. It will show you the premise of the lesson and based on your question I'm sure you'll relate to it. Then follow through 50+ lessons.
Last edited by MikeDodge at Jan 6, 2010,
#6
Also, you can use the b5 for a darker blues sound if that's what you're after.

But yeah, major and minor pentatonic will sound great.
#7
Quote by Lollage123
So if you use a 12 bar blues with dominant 7th chords, I-IV-V progression, in C for argumnents sake,which key is it in and what would you use?

Like Major/Minor? Because some notes from the Dominant 7th chords aren't in either the major or minor scale, so which would it be? C major or minor? And say, what would you solo over it with? Because C maj or min scale doesn't have all the notes as doesn't the pentatonics for C...

Sorry if it doesn't make sense but I was told you use dominant 7th's chords, and I was thinking wtf woyuld you solo over it with..?
Blues is practically always in the major key. It uses notes from the parallel minor, but the "flattening" of the notes is what defines blues.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#9
arpeggios for the I7 IV7 V7 you can extend them to the 9 11th & 13 and alter them also...you will have to experiment a bit with the extended notes to see what works in certain phrasing...a ascending altered run may not work decending...depending on the target chord...

you can also use minor scales, arpeggios and runs a 5th higher than the target chord ie: for C7 use Gmi7 etc...

study some blues progressions that use diminished scales, arpeggios etc and how to fit them in a solo...same with extended chromatic runs.

play well

wolf
#10
If you don't know modes yet, learn them, but the C major and minor pentatonic scales both work well. C mixolydian works pretty well also, as does Dorian.

Another thing you can do is pass over a few notes in the minor scale to go to the major scale, like do a hammer on from the minor third to the major third. That works well, especially if you finish it with an arpeggio.
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#11
If you super impose the C Major Pentatonic and the C Blues scale into one scale you cover all of these scales in one shot...

C Major Pent
C Minor Pent
C Blues
C Mixolydian
C Dorian
C Lydian Dominant

As well as a partial scale from the C Whole tone and C Diminished.

All those scales from two 5 note scales combined.

Check that link I posted above, it covers this application completely.
#12
Keep it simple dude. C mixolydian.

The dom7 chord is built off the V chord, so in the key of C, building a 7th chord off of the note G will yield a dom7 chord. The mixolydian scale is the scale built off the V chord. So once again, if you play the C scale, starting and ending on G, you have played G mixolydian.

So as you see, the scale and chord are perfect for each other. If your just starting out, mixolydian sound over a dom7 is the simplest way to go

EDIT: Since your new to soloing over dom7 chords, STAY AWAY FROM THE RAISED 7!!!!!! Eventually youll start to make sense of it, but until you get comfortable with just the notes in the scale, Id hold off. More than any other note, a raised 7 over a dom7 has tons of potential to make your solo sound like balls
Last edited by tubatom868686 at Jan 7, 2010,