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The chords for this track are: E7, D7, A7, E7 however, the guitar just plays E,D & A triads with no 7th.
How to approach this?
1. E Blues Scale (the “one-scale-does-it-all” choice)
E blues: E – G – A – Bb – B – D
Why it works:
Classic blues move: dominant chords that don’t “belong” to one key
The blues scale floats over all three chords without needing to switch
👉 Perfect for: Blues, rock, roots, early rock & roll
Staying expressive without thinking too hard
2. E Minor Pentatonic
E minor pent: E – G – A – B – D
Why it works: Same logic as the blues scale, just cleaner Sounds great over all three dominant chords
👉 Tip: add the Bb occasionally for blues color.
3. Mixolydian Per Chord (outline the changes) If you want to sound more “inside” and sophisticated, switch scales with each chord:
Over E7 play E Mixolydian: E – F# – G# – A – B – C# – D
Over D7 play D Mixolydian: D – E – F# – G – A – B – C
Over A7 PLAY A Mixolydian: A – B – C# – D – E – F# – G
Why it works: Mixolydian = dominant scale Highlights each chord’s 3rd and b7, which defines the sound
👉 This is great for jazzier blues or country-blues flavors.
4. Major Pentatonic Targeting (sweet + bluesy)
You can mix major pentatonic sounds with minor/blues:
Over E7 → E major pent (E F# G# B C#)
Over D7 → D major pent (D E F# A B)
Over A7 → A major pent (A B C# E F#)
This gives: A sweeter, almost BB King / country blues vibe Great contrast when mixed with minor pentatonic
If I were soloing over this progression:
Base layer: E blues scaleZ
Add interest: Target chord tones as the chords change Color: Mix in Mixolydian or major pent for sweetness
I know this seems like a lot to be thinking about while also trying to spontaneously create in an artistic fashion AND execute everything with good feel, timing & musicality AND IT IS!!!
That's why I approach it from a very familiar minor pentatonic framework and add all the other colors from there. Video about this coming very soonly!
