Part 12: Blues, with the foundations still clear · Lesson 116 / 117
Your complete explained blues solo
Today’s one thing
Combine chord tones and blues colours through a twelve-bar chorus.
“Twelve Bars, Clear Choices” follows the exact A7–D7–E7 ending form introduced in this part. Its basic recorded version uses clearly pitched sampled notes. Optional bends can replace marked approaches after the destinations are understood.
The lead combines A-minor-blues material with selected major thirds from the current chords. Therefore, it is deliberately not labelled as using only one six-note scale. The note table identifies each event's pitch, rhythm, guitar address, tonic-relative degree and current chord role.
Learn bars 1–4 first, bars 5–8 in another session, then bars 9–12. Begin each block with just its target notes. Repeated ideas make the form recognisable, while changed endings respond to the harmony.
Listen for C moving towards C# over A7, C acting as a chord seventh over D7, and G# identifying E7. These are specific decisions you can explain. The aim is to understand the full chorus, not merely memorise twelve bars of tab.
A concrete example
Twelve-bar study: A7 A7 A7 A7 | D7 D7 A7 A7 | E7 D7 A7 A7. The final A7 is an ending, not an unlabelled turnaround.
Fretboard view
High E (string 1) is the top line, matching guitar tablature. Select a note to hear it.
Twelve Bars, Clear Choices — actual solo locations
The pitch locations here come directly from the written score, not a generic scale box.
These are the places used across the study, not notes to play simultaneously. A note’s role changes with the current backing chord.Play notes from a larger button list
One small map at a time. Hear the notes, then play the example without looking.
Twelve Bars, Clear Choices
Twelve-bar ending form with straight, explicitly timed subdivisions. The shuffle exercise is separate. Optional bends may replace written C-to-C# approaches only after the target and arrival time are understood.
12 bars · 4/4 · 72 BPM · A blues: minor-blues colour plus chord-specific major thirds · Standard tuning
One four-beat count-in at the beginning. The backing continues through lead rests. The slow version keeps the same pitches. Picked-note demonstrations; technique targets are taught separately.
Bar 1 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
C5Beat 2 · 0.5 beatsString 1, fret 8
C♯5Beat 2 & · 0.5 beatsString 1, fret 9
E4Beat 3 · 1 beatString 2, fret 5
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone outline.
C5, beat 2. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Introduce the blues minor-third colour before its semitone rise to C#.
C♯5, beat 2 &. Degree 3 from A; major third above this chord’s root. Included in the written chord. Resolve that colour into A7’s actual major third.
E4, beat 3. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 2 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
E♭4Beat 2 · 0.5 beatsString 3, fret 8
E4Beat 2 & · 0.5 beatsString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; perfect fourth above this chord’s root. Outside the written chord. Approach the fifth through the 4–b5–5 figure.
E♭4, beat 2. Degree b5 from A; tritone above this chord’s root. Outside the written chord. Use b5 as a brief chromatic connection into E.
E4, beat 2 &. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 3 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C♯4Beat 1 · 1 beatString 3, fret 6
E4Beat 2 · 1 beatString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
A4Beat 4 · 1 beatString 1, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
C♯4, beat 1. Degree 3 from A; major third above this chord’s root. Included in the written chord. State the major third of A7; this is a deliberate chord-tone outline.
E4, beat 2. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
A4, beat 4. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone arrival.
Bar 4 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
E4Beat 1 · 2 beatsString 2, fret 5
C5Beat 3 · 1 beatString 1, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
E4, beat 1. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
C5, beat 3. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Set up a shared C that will become a chord seventh when D7 arrives.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 5 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 2 beatsString 1, fret 8
A4Beat 3 · 1 beatString 1, fret 5
F♯4Beat 4 · 1 beatString 2, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. The same C is now D7’s minor seventh: a chord tone.
A4, beat 3. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
F♯4, beat 4. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone arrival.
Bar 6 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
F♯4Beat 2 · 1 beatString 2, fret 7
A4Beat 3 · 1 beatString 1, fret 5
C5Beat 4 · 1 beatString 1, fret 8
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; root above this chord’s root. Included in the written chord. State the root of D7; this is a deliberate chord-tone outline.
F♯4, beat 2. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone outline.
A4, beat 3. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
C5, beat 4. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of D7; this is a deliberate chord-tone arrival.
Bar 7 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 0.5 beatsString 1, fret 8
C♯5Beat 1 & · 0.5 beatsString 1, fret 9
E4Beat 2 · 1 beatString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Return to the minor-third blues colour above A7.
C♯5, beat 1 &. Degree 3 from A; major third above this chord’s root. Included in the written chord. Resolve to the major third.
E4, beat 2. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 8 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
G4Beat 2 · 1 beatString 2, fret 8
E4Beat 3 · 2 beatsString 2, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone outline.
G4, beat 2. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
E4, beat 3. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone arrival.
Bar 9 · E7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
G♯4Beat 1 · 2 beatsString 2, fret 9
B4Beat 3 · 1 beatString 1, fret 7
D4Beat 4 · 1 beatString 3, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from E7’s root. These are two different relationships.
G♯4, beat 1. Degree 7 from A; major third above this chord’s root. Included in the written chord. Target E7’s major third, deliberately outside both six-note A blues palettes taught here.
B4, beat 3. Degree 2 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of E7; this is a deliberate chord-tone outline.
D4, beat 4. Degree 4 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of E7; this is a deliberate chord-tone arrival.
Bar 10 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
F♯4Beat 1 · 1 beatString 2, fret 7
A4Beat 2 · 1 beatString 1, fret 5
C5Beat 3 · 1 beatString 1, fret 8
D4Beat 4 · 1 beatString 3, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
F♯4, beat 1. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone outline.
A4, beat 2. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
C5, beat 3. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of D7; this is a deliberate chord-tone outline.
D4, beat 4. Degree 4 from A; root above this chord’s root. Included in the written chord. State the root of D7; this is a deliberate chord-tone arrival.
Bar 11 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
E♭4Beat 2 · 0.5 beatsString 3, fret 8
E4Beat 2 & · 0.5 beatsString 2, fret 5
C♯4Beat 3 · 1 beatString 3, fret 6
A3Beat 4 · 1 beatString 4, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; perfect fourth above this chord’s root. Outside the written chord. Begin another fourth-to-fifth approach.
E♭4, beat 2. Degree b5 from A; tritone above this chord’s root. Outside the written chord. Pass chromatically towards E with a half-beat duration.
E4, beat 2 &. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
C♯4, beat 3. Degree 3 from A; major third above this chord’s root. Included in the written chord. State the major third of A7; this is a deliberate chord-tone outline.
A3, beat 4. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone arrival.
Bar 12 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 3 beatsString 1, fret 5
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. Hold the tonic over the tonic chord for a clear ending.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Try it, slowly
Play target notes through the whole form.
Learn and explain one four-bar block at a time.
Compare the two roles of C and locate the intentional G# over E7.
Check one idea
Why would describing the whole solo as “just A minor blues scale” be inaccurate?
Show the explanation
It also uses chord-specific notes such as C#, F# and G#. Those pitches have explicit harmonic reasons but are not all members of A minor blues.
A good place to stop
You can slowly play or reconstruct the chorus and explain each chosen event using the table.
Return to the example after a short break. A clear explanation matters more than speed.
