Chord-tone targeting

A pentatonic solo works over a whole blues, but it can sound as if it ignores the chords. Targeting chord tones fixes that: on each chord you aim to land on one of its notes at the start of the bar. The result is a solo that moves with the harmony.

By the end of this lesson you will be able to:

• Name the chord tones of A7, D7 and E7.
• Find the chord tones that sit in A minor pentatonic box 1.
• Play a short phrase that arrives on a chord tone on beat 1 of the bar.

Each chord is made of a few notes: its chord tones. A note from the scale can be strong or weak depending on the chord underneath. The chord tones are the strongest. Landing on one at the start of a bar makes the solo seem to follow the harmony.

The chord tones of the three blues chords in A:

• A7: A, C♯, E, G
• D7: D, F♯, A, C
• E7: E, G♯, B, D

The A minor pentatonic box does not contain every chord tone (it has no C♯, F♯, G♯ or B), but it contains several for each chord: A, E and G for A7, D, A and C for D7, and E and D for E7. Those are your targets.

How to use them. Think in two steps: the target, then the route. On each chord change, choose a chord tone to arrive on at beat 1. Then, in the bar before it, play a short phrase that leads there. The rest of the bar can be free.

Chord-tone targeting does not replace feel. It simply gives your ear a destination.

A7 to D7.

1. Strum A7 for a bar, then D7 for a bar, and loop.
2. In the A7 bar, play a short run in box 1 and leave on beat 1 of the next bar. Land on D (5th string fret 5), the root of D7.
3. In the D7 bar, play another short phrase that finishes on an A (4th string fret 7), the root of A7 and the fifth of D7.
4. Say the targets aloud: "D, A, D, A". When this is automatic, add a more adventurous target: the C (a seventh of D7) on the 3rd string fret 5.

Do these in order. Each one is small. Tick the ones you have practised.

• 1.Find the chord tones in box 1

  4 min

  1. For A7 (A C♯ E G), find the chord tones in box 1: the As, the E and the Gs.
  2. For D7 (D F♯ A C), find the Ds, the As and the Cs in box 1.
  3. For E7 (E G♯ B D), find the Es and the Ds in box 1.
  4. Play each one and say its name.

  You have it when

  • You can play at least two chord tones in the box for each chord.
  I practised this one

• 2.Land on beat 1

  5 min · 60 → 80 BPM

  1. Strum A7 for a bar, then D7 for a bar, and loop.
  2. Over A7, end a short run on an A or an E on beat 1 of the next bar.
  3. Over D7, end on a D, an A or a C.
  4. Leave a gap before each target so you can choose it.

  You have it when

  • You arrive on a chord tone on at least 3 out of 4 changes.
  I practised this one

• 3.Over the full form

  5 min · 60 → 80 BPM

  1. Use a 12-bar backing.
  2. On every chord change, land on a chord tone of the new chord on beat 1.
  3. Play for two choruses.

  You have it when

  • You can hear the solo following the chords across two choruses.
  I practised this one

Slow, 60 BPM, with a bar for every step. Choosing a target takes thought, so start with very few notes per bar.

• Trying to land on a chord tone on every beat. Target only the first beat of each chord. The rest of the bar can be free.
• Forgetting which notes belong to the chord. Learn the three chords' notes. Write them on a card until they are automatic.
• Using only the root as a target. Try the fifth and the seventh too. They give variety.

Chord-tone targeting is how blues and jazz players make a solo sound as if it belongs to the song. Use it on the 12-bar blues in A: the D7 and E7 changes are the moments to show you hear them.

Try it in: 12-bar blues in A.

Short version (10 minutes)

Find and play the chord tones of A7 and D7 in box 1, and loop A7 to D7 for four minutes.

Standard version (about 30 minutes)

Do all three exercises, then record a chorus and mark where you landed on chord tones.

• A7: A C♯ E G. D7: D F♯ A C. E7: E G♯ B D.
• Target a chord tone on beat 1 of each new chord.
• Root, fifth and seventh all work.
• The rest of the bar can be free.

You are ready to move on when you can honestly say:

• I can name the chord tones of A7, D7 and E7.
• I can find them in box 1.
• I can land on a chord tone at the changes of a 12-bar blues.