6 String Freedom

Part 12: Blues, with the foundations still clear · Lesson 114 / 117

Target the blues chord tones before adding colour

Today’s one thing

Find simple destinations through all twelve bars.

Use the thirds C# over A7, F# over D7 and G# over E7. These notes clearly identify each chord's major quality. First play only one target per bar while following the form.

Now return to the tonic A7 and choose A or E as a contrasting ending. You can also use the chord's seventh G. The point is to make a plan before inserting more blues-scale notes.

Minor- and major-blues palettes do not contain every chord tone equally. For example, G# in E7 is absent from both six-note A blues lists introduced here. A chord-aware blues solo can intentionally use it anyway. A named scale is a resource, not a prison.

For each added note, state whether it belongs to the current chord, a chosen scale palette, both, or neither. Then explain its movement or expressive purpose in the phrase.

Hear it

Blues Targets

Audio file

Four-beat count-in · 60 BPM · Warm sampled electric guitar. Listen once before playing along.

A concrete example

A7 third C#; D7 third F#; E7 third G#. The complete blues study may use these chord tones alongside minor-blues colours.

Fretboard view

High E (string 1) is the top line, matching guitar tablature. Select a note to hear it.

Root / tonicChord toneTargetChanged / colour noteOther note
Three separate chord-tone destinations
A7 → C♯, D7 → F♯, E7 → G♯.
Guitar fretboard diagram: Three separate chord-tone destinations. High E string on top, frets 5 to 9. Notes C#, F#, G#.
Each note is the major third of a different backing chord, not three simultaneous notes of one chord.
Play notes from a larger button list

One small map at a time. Hear the notes, then play the example without looking.

Try it, slowly

  1. Locate the three thirds before starting the backing.
  2. Play one per bar through the form.
  3. Add one approach note to a target and explain the relationship.

Check one idea

Must G# be excluded over E7 because it is absent from A minor blues?

Show the explanation

No. G# is E7's major third. Deliberately targeting the chord can give a clear reason to use a note outside that particular scale palette.

A good place to stop

You can follow the form with chord-tone targets and explain an intentional outside-palette note.

Return to the example after a short break. A clear explanation matters more than speed.