Blues Soloing Maps: Playing the Changes - Book 2
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Three more ways to play the changes in a blues.
Book 1 showed you one way to follow the chords: blend the minor and major pentatonic around the 3rd of each chord. This book gives you three more. They get progressively more involved, and you don’t need all of them. Pick the one that suits how you think, and use the others when you want a different sound.
Method one: arpeggios, but not the way you think. You keep the minor pentatonic over the whole blues and add only the chord tones it’s missing. Over A7 and D7 that’s a single note each, and over E7 it’s two.
Method two: the blues scale, seen three ways. The same notes over every chord, counted from a different root each time, so your phrases resolve where the chord does. It also says plainly which notes clash and where, which most books leave out.
Method three: the modes. A Dorian with the major 3rd added over A7, D Mixolydian over D7 (the same notes, with a different centre), and E Mixolydian over E7. It’s the most melodic of the three and the one I use most.
What’s in it
Revised 2026 edition. It’s been rebuilt from the ground up, with every diagram redrawn, corrections throughout, and practice material added for each method. 13 pages, PDF, 8.5 x 11.
Book 1 showed you one way to follow the chords: blend the minor and major pentatonic around the 3rd of each chord. This book gives you three more. They get progressively more involved, and you don’t need all of them. Pick the one that suits how you think, and use the others when you want a different sound.
Method one: arpeggios, but not the way you think. You keep the minor pentatonic over the whole blues and add only the chord tones it’s missing. Over A7 and D7 that’s a single note each, and over E7 it’s two.
Method two: the blues scale, seen three ways. The same notes over every chord, counted from a different root each time, so your phrases resolve where the chord does. It also says plainly which notes clash and where, which most books leave out.
Method three: the modes. A Dorian with the major 3rd added over A7, D Mixolydian over D7 (the same notes, with a different centre), and E Mixolydian over E7. It’s the most melodic of the three and the one I use most.
What’s in it
- All three methods worked through over A7, D7 and E7 in the same area of the neck
- Diagrams that label each note by its interval from the chord you’re playing over
- What to practise for each method, with loops to play over
- A diagrams-only section to print out and keep on your music stand
Revised 2026 edition. It’s been rebuilt from the ground up, with every diagram redrawn, corrections throughout, and practice material added for each method. 13 pages, PDF, 8.5 x 11.