Primary and secondary notes - One of the most essential aspects of soloing over scales is to accentuate notes in the chords. Temporarily end on E can be great as well, since it will give a feeling of anticipation (but you must follow up in these cases). Compare by ending phrases over the A7 chord with A and E notes and hear how ending on A will give the phrase more of the character that it's "finished" whereas ending on E will have a character of that the phrase still waiting to be continued. When you play phrases over a chord, it will generally sound good to finish the phrase with the note which is the root of the chord (A is the root of the A7 chord etc.). For example, if your intention is to play the G# on the 9th fret you can bend the second string on the 8th fret a semi-tone up. You can also use bends when target guide tones, by landing on the fret before and make a 1/2 tone bend. For example, the b7 interval in A7, which is G, can sound great as a target note here. Another note to target in the change to D7 is the b7 interval, that is C in the case of D7.įor the D7-A7 chord changes, try different target notes and observe how they sound like. These "extra notes" is also called guide tones, which is notes that changes when the chord changes (for more theory, see "Explanations" below).Įspecially on the second A7-D7 chord change, is a good idea to target the F# note since the D7 chord will span over two bars this time (it's also often easier to hear this change come, anticipate it).
Another possible adjustment is to add the G# note over the E7 chord.
Because of this, try to avoid G or replace G with F# over the D7 chord (not necessary in all occasions). You can play the A Minor Pentatonic over all chords, but D7 will clash with the 5th scale degree (G), which can generate dissonance.
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