Now we know we want a I – chord in the 11th bar; in blues that’s a given.
In a blues in G that would be a G7 type chord
Going to the I chord, we can precede it by it’s V, the D7.
Making the progression a D7 in bar 10 to a G7 in bar 11.
But that D7 can be seen as a temporary I chord and preceded by IT’S V chord.
In the key of G, using the mixolydian scale, that would be an Am7
Check it out: the A to D bass note progression is fifth fret, sixth string to fifth fret, fifth string; a V – I progression.
Thus we’ve created the progression : Am7 – D7 – G7 – D 7
A IIm7 – V7 – I7 – V7
The big leap we’ve made from using 1 scale (the blues scale) for a whole song to ‘moving with the chords’ has to be practiced here too.
Whenever we’re playing a IIm7 chord we’ve got to play a scale / licks that go with that chord.
If this sounds like a lot of work, that’s because it is.
Luckily the scale that is mostly played on that Am7 chord looks a lot like the G mixolydian scale: it’s the same scale but starting and ending on an A note:
A B C D E F G A
This scale is an A natural minor scale.
On a G7 chord, playing a G mixolydian scale the G B D F notes sound ‘best’ because they are chord tones.
On an Am7 chord, using the A natural minor scale, the A C E G notes sound ‘best’ because THEY are now chord tones.
Which means that you can sorta use the same scale, but that you have to know that the chords beneath it have changed.
(Continued on Next Page)