Targeting chord tones

Why target

Over A7, the A minor pentatonic plays C, but the chord contains C#. That minor-over-major rub is the sound of the blues, and it’s intentional. But if that’s all you do, your solo doesn’t follow the progression. The secret: on every chord change, land on a chord tone, ideally its third, the note that defines it.

The three thirds

All three are one fret away from position 1: just stretch a finger.

Over A7: C#

The classic move: a hammer-on from C to C# on the G string (5^th to 6^th fret). Minor, then major: the whole blues fits in those two notes.

e|-----------|
B|-------5---|
G|---5h6---6-|
D|-7---------|
A|-----------|
E|-----------|

Over D7: F#

A slide from the 5^th to the 7^th fret on the B string, from E to F#. When the progression moves to D7, that F# makes the change heard.

e|-----------|
B|-----5/7---|
G|---7-----7-|
D|-7---------|
A|-----------|
E|-----------|

Over E7: G#

G# is on the D string, 6^th fret. It creates strong tension: it wants to rise to A and bring the progression home.

e|---------|
B|-5-------|
G|---7-4---|
D|-------6-|
A|---------|
E|---------|

Mixing minor and major

Don’t replace the pentatonic with chord tones: add them. A pentatonic phrase, with its minor third (C), then a target note on the change. Blending the two colors, minor and major, is the essence of the blues.

Exercise

Over the progression, first play just one note per chord change: C# in bar 1, F# in bar 5, C# in bar 7, G# in bar 9. Nothing else. Then fill the space between those notes with the pentatonic.

You’ve got it when…

• You can find the third of A7, D7 and E7 around position 1
• You land on the third of each chord on the change, over the progression at 70
• You mix pentatonic phrases and target notes in the same chorus