How To Improvise On A D Minor Blues Using Chord Tones

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How to improvise on a D minor blues using chord tones
Based on this backing track: https://youtu.be/U2JIIiUrQbI
PART 1
So, this is really great, play beautiful matching melodies over this chord progression.
Once you know it it’s not that hard but in the beginning it’s quite confusing because it
requires another way of thinking and you have to know your fretboard really well. I’ll try to
keep it as simple as possible.
In this backing track the chord progression is:
| Dm | Dm | Dm | Dm |
| Gm | Gm | Dm | Dm |
| Am | Gm | Dm | Am |
The scale that we’re gonna use is D minor (aeolian) and we will only look at the scale in the
10th position otherwise it will be way to confusing.
In the 10th position you can play this scale twice. The low version from string six to four
and the high version from string four to one.
The low version goes like this:
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The high version goes like this:
To keep it “simple” we will only use the high version.
Each chord is made out of three di erent notes. When you don’t know that and when you
want to know why download the PDF C major chords from my site www.guitarpeter.com/
downloads
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The notes from the D minor chord are D, F and A and in the high version of the D
minor scale they are here.
This is also a D but

like I said “let’s keep
it simple”.
The notes from the G minor chord are G, Bb and D and in the high version of the D
The notes from the A minor chord are A, C and E and in the high version of the D
On the D minor chord you play the D minor scale from D to D
On the G minor chord you play the D minor scale from G to G
On the A minor chord you play the D minor scale from A to A
The three chord tones sound really good. That doesn’t mean that the other notes
sound wrong. It’s just that 1, 3 and 5 have no tension and 2, 4, 6 and 7 have tension.
It means that you can use the the tension of the 2 to release it to 1 or 3. And 4 can
release to 3 and 5 and so on. Take your time and discover the sounds that you like.
D minor from D tot D D minor from G tot G
D minor from A tot A
The magic word when you start improvising using chord tones is PATTERNS.
Patterns are short licks that are used as a repeating form. It allowes you to truly
comprehend and practice the chord tones.
Let’s take another look at the the D minor scale in the 10th position and we will give
each note a number.
1 2 3 4 5 6 7 1
We already know the notes of the D minor chord and now we make little patterns,
short melodies, that are based on the chord tones.
1 2 3 4 5 6 7 1
You really have to see your fretboard in another way. In the beginning it can get quite
frustrating. I remember the moment I had to learn it very well. I already could play the
solos of Hotel California, hey Joe etc. but I didn’t truly understand them. I could not
tell you why a certain lick sounded good on for example the E chord. When someone
would ask me to play a certain part of the solo I had to start at the beginning because
I could’t ‘organise’ the solo in my head. Once you truly understand this way of playing
solos it’s way easier to learn and remember solos and licks because you can put them
in a broader context. You know why they sound good and you can play them in other
keys also because you understand how it ts to the chord.
So patterns it is.  
Lets take a look at some real simple patterns and lets play them throughout the chord
progression.
Note: 
In the beginning it will sound quite schoolish because every bar has the same
pattern but after a while the reward will be huge. Once you start mixing the
patterns , use bends, slides and improvise more you will be so happy.
Pattern 1
The notes are 1 - 2 - 3 and the rhythm is counted as 1 2 3. The last note is two beats
On D minor it’s: On G minor it’s: On A minor it’s:

1 2 3 (4)
Pattern 1
Full 12 bar blues
fi
Pattern 2
The notes are 1 - 2 - 3. Same notes di erent rhythm.
Now the rhythm is 1 and 2. The last note is three beats.
Do not only vary the patterns with di erent notes but also change the rhythm.
A lick/pattern can sound quite di erent with another rhythm and often that’s an
overlooked point.

1 & 3 (4)
Pattern 2
Full 12 bar blues
Do not underestimate the power of rhythm. Little changes in rhythm make solos much
more attractive and powerful
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Pattern 3
The notes are 1 - 2 - 3. Same notes, again a di erent rhythm.
Now the rhythm is 1 2 and. The last note is two and a half beats.

1 2 & (3) (4)
Pattern 3
Full 12 bar blues
Remember this is just a start. You can go very far with this and it will take time to
master it.
These patterns are only in a part of the 10th position but they can be played all over
the fretboard and you can start them with di erent ngers.
However they are based on the chord tones, the triads. There are a few basic forms
and once you know them it will be easier to “see’ it all.
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Pattern 4
The notes are 1 - 2 - 3 - 4 - 5.
The rhythm is 1 and 2 and 3. The last note is two beats.

D minor it’s:
On On G minor it’s: On A minor it’s:
1 & 3 & 3 (4)
Pattern 4
Full 12 bar blues
This is a start. Don’t rush it. You have to see the chord tones on the fretboard.
 
The chord tones will always sound good and you can use the rest of the scale to connect
them. When you play a note that’s not a chord tone you will hear a little tension because it
wants to resolve into a chord tone. That tension is great to use and it sounds wonderful
and you can create beautiful melodies with it. You can hear it when you rst play the 2. 
For instance a pattern like 2 1 2 3. That sounds real nice.
Pattern 5
fi
Pattern 5
Full 12 bar blues
Some people will like the 12 more.
That’s the nice thing about music.
It’s allways open for discussion.
note
You can say that when you play on D minor chord you play the D aeolian scale.
When you play on the G minor chord you will play G dorian.
When you play on the A minor you will play A phrygian.
Another approach is to just play D minor starting on di erent notes.
D, G and A. I like the second one but everybody’s di erent.
Remember that this is not an easy thing to do but I promise you it’s very rewarding. 
See you in part two.
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How To Improvise On A D Minor Blues Using Chord Tones

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www.youtube.

How to improvise on a D minor blues using chord tones

Based on this backing track: https://youtu.be/U2JIIiUrQbI

In this backing track the chord progression is:

The low version goes like this:

The high version goes like this:

To keep it “simple” we will only use the high version.

This is also a D but

On the D minor chord you play the D minor scale from D to D

On the G minor chord you play the D minor scale from G to G

On the A minor chord you play the D minor scale from A to A

D minor from D tot D D minor from G tot G

D minor from A tot A

On D minor it’s: On G minor it’s: On A minor it’s:

Now the rhythm is 1 and 2. The last note is three beats.

On D minor it’s: On G minor it’s: On A minor it’s:

On D minor it’s: On G minor it’s: On A minor it’s:

The rhythm is 1 and 2 and 3. The last note is two beats.

Some people will like the 12 more.

That’s the nice thing about music.

It’s allways open for discussion.

When you play on the A minor you will play A phrygian.

Another approach is to just play D minor starting on di erent notes.

D, G and A. I like the second one but everybody’s di erent.

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