Improvising Over Major Blues With Dominant 7 Arpeggios.

Improvising Over Major Blues With Dominant 7 Arpeggios.

We covered all the fingerings for G7, C7 and D7 arpeggios in past weeks.
Let’s put it all together now and play some great blues solos with all that info.

In today’s lesson we’ll cover 2 things:

1) Blues soloing with only root position arpeggio fingerings.
2) In position combining 3 fingerings over blues.

Blues soloing with only root position arpeggio fingerings.

This is a good warm up exercise to prep for the next step.
You play through a 12-bar blues in G, playing root position dominant 7 arpeggios, on the 3rd fret (G) , the 8th fret ( C ) and the 10th fret (D)

You could of course do the same with the 1st inversion fingerings, where you solo with the 3rd in the bass fingering only from the 7th fret (G), the 12th fret (C chord) and the 14th or 2nd fret (D chord). Lastly: you can also solo onling using the 2nd inversion fingering in the G, and D chord positions, and finally with the 3rd inversion fingering.

In position combining 3 fingerings over blues.

Eventually you want to be able to solo over a major blues using the closest 3 arpeggio fingerings for each chord.
The goal is to move as little as possible from chord to chord.
Here are the closest fingering combinations for the I, IV and V chords in G.


1) G7 from the root – C7 from the 5th – D7 from the 3rd
2) G7 from the 3rd – C7 from the b7 – D7 from the 5th
3) G7 from the 5th – C7 from the root – D7 from the b7th
4) G7 from the b7th – C7 from the 3rd – D7 from the root

I briefly mentioned this and touched upon this in a blog last week, here: Click HERE

Let’s cover this in a bit more detail with a video, in case this didn’t entirely make sense in last week’s blog.

These are great, challenging soloing exercises and techniques that will keep you busy for a while.

Conclusion

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