Blues Shapes-Using Triadic Forms As Soloing

Templates
PART 1

A common area of study for all guitarists is the understanding and musical application of chord
forms, which is essential to the development of rhythm guitar parts, arrangements and
accompaniments.

Chord forms can also provide useful templates of fretboard shapes for improvising melodic lines.
This focus of study becomes even more interesting and varied when one expands it to a chord
progression and the sequence of specific chord shapes, which may be used as navigational tools
for crafting single-note melodies.     

An effective way to get attuned to this concept is to apply specific chord types and the movement
from shape to shape (including the technique of voice-leading) to a standard 12-bar blues form.
In the examples presented in this lesson, we’re working within the context of a 12-bar blues in E,
moving between the one chord, E, the four chord, A, and the five chord, B.

For the purposes of this column, we’ll focus on three-note dominant seven shapes, played on the
top three strings. FIGURE 1 illustrates the full six-string form of a standard first-position E7
chord, as well as the shape that falls on the top three strings. In FIGURE 2, we move from E7 to
A7 to B7, and then back to E7, played in a higher positions, using voice-leading technique.

When moving from E7 to A7, the G# note on the third string moves up one fret to A while the D
on the second string moves down one fret to C#; the open E note on top moves up a step and a
half to G. This A7 shape then moves up two frets to B7. Voice-leading is employed again when
moving from B7 to the final E7 shape, as the D# note on the B string’s fourth fret moves down
one fret to D and the A note on the first string moves down one fret to G#.

Let’s now use these shapes as a template for creating solo lines, as demonstrated in FIGURE 3. I
begin by picking the notes of the E7 chord shape individually (a technique known as
arpeggiation) and then play a descending line based on the E minor pentatonic scale (E G A B D)
while adding the major third, G#. In bar 2, I again begin by arpeggiating, picking the notes of A7
in succession before switching to a line based on the E blues scale (E G A Bb B D). I continue
with this approach until bar 9 and the arrival at B7, at which point that chord’s shape becomes
the template for the remainder of the solo.

The next step is to move to the next higher set of dominant-seven shapes on the top three strings,
as shown in FIGURE 4, followed by a soloing example with the same principles applied (see
FIGURE 5).
PART 2

Last month, we explored using triadic (three-note) chord shapes as a means to fortify a deeper
understanding of chord “grips” and intervallic relationships on the fretboard, as well as how one
can use these shapes as a springboard for improvising single-note solo melodies.

An essential element in this investigation involved connecting these triadic shapes when
applying them to a standard “one-four-five” blues progression.

This month, we’ll continue with a look at four more triadic shapes, as well as a handful of
melodic phrases that are based on them.

Using the key of E again, the three chords that make up the progression are E (the one chord), A
(the four chord) and B (the five chord). As is customary in blues, dominant seven chords—in this
case, E7, A7 and B7—are used instead of straight major triads. FIGURE 1 illustrates three-note
voicings for these three chords played on the D, G and B strings.

I begin in second position and play E7, A7 and B7, then shift up to fifth position and resolve
back to E7, this time using a first-inversion voicing, with the third of the chord, G#, sounded as
the lowest note. Notice that when moving from the initial E7 to A7, the lowest note, E, remains
the same, while the two higher notes, G# and D, both move down one fret to G and C#,
respectively.

This A7 shape then moves up two frets (one whole step) to B7, and then all three notes move up
the fretboard to the next available chord tones of E7, sounded in ascending order as G#, B and E.
The idea with this lesson is to utilize each of these dominant seven voicings and shapes as
“guideposts” for soloing. In bars 1 and 2 of FIGURE 2, simple melodic phrases are presented
that use the E7 chord tones E, G# and D as points of focus. In bars 3 and 4, I take the same
approach with A7, and then, in bars 5 and 6, with B7. I then round out the exercise by moving up
the fretboard to play lines that revolve around the higher E7 voicing.

Now let’s apply this approach to the 12-bar blues progression, as demonstrated in FIGURE 3. In
bar 1, all of the notes played are part of the E7 chord. In bar 2, I expand the approach by
incorporating some notes from the E blues scale (E G A Bb B D) while accentuating the triadic
tones of A7.

This approach is carried through the entire example, so as you play through the progression, keep
in mind which of the notes are chord tones and which are passing tones that connect the chord
tones, as well as how I sometimes anticipate the next chord in the progression via the contour of
the melodic phrase, playing a couple of the next chord’s notes “early” (before the chord officially
changes).