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Watch the Jazzy Two Five in C online guitar lesson by Jeff Denson from Bass Soloing Studies Vol. 1

What I mainly focused on in this solo was creating melodies that clearly outlined the harmony. As with all the solos in this course, I used only the relative major and minor pentatonic scales, so in order to accomplish outlining the harmony, I needed to give emphasis to the notes in the scale that are also in the chord. For example, in D-7, the D minor pentatonic shows all the chord tones with the addition of one extra note, the G, which is the 4 or 11. On the G7 chord, it doesn't come so neatly wrapped up in a bow like the minor pentatonic on the minor7 chord, because the flat 7 is missing from the scale. We get the root, 9, 3, 5 and 6 with the major pentatonic on the dominant 7 chord. Because of this, we need to use the notes of the G major triad, G, B and D as our main target notes to outline the G7 chord, and use the two remaining notes, the A and E (9 and 13 respectively) as color tones.

Just to reiterate, there is no "rule" that you must always play all the chord tones every time you solo and that everything else must be used only in passing, but we're focusing on this because it's the strongest way to outline the changes. You must first learn how to outline changes, clearly showing the chord tones before focusing on extensions, or color tones. The reason for this is because you need to know what something is before you can effectively abstract or change it. A big part of this style of music is being able to come up with creative lines, or melodies that reflect the harmony that they are being played over.

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