Changing Keys

THIS MONTH, I want to address an issue that is often avoided in this style; the situation when a chord change is non-diatonic – or to put it another way, such a significant change that holding onto the same scale or pattern will severely limit your options. In this case, the backing track’s

Bb main theme of shifting between minor

Db and minor means you’ll need to reflect those changes somehow. One way of doing this is to shift key with the chord changes,

Bb Db. using minor pentatonic shapes in and

This is completely valid, and the way I approach a lot of this solo, especially at the start, where I’m basically playing rhythm with some fills. However, the time may come when you feel a bit trapped by the need to keep shifting up and down – and over an extended solo, it may start to sound repetitive, too. To avoid this, we can take a methodical approach; earmark the notes from each scale that will fit (or that you like the sound of – it can be as dissonant as you

Ab, like!) over each chord. For example, the Bb, Db Eb Bb

and from the minor pentatonic

Db can all work over the minor – though

Bb not if you’re landing heavily on the root, which is fine as a passing note, but it might sound like you’re struggling if you keep going there... Another approach I’ve tried is

Db Db, Eb, Gb, Ab, Bb, to build a dorian shape ( E,

Bb B) around the minor pentatonic between the 6th and 9th frets – this fits well over the Db

minor and means you can stay in one position. This is a tricky one but great for focusing on chord changes and breaking out of a rut. Hope you enjoy and see you next time!

Example 1

TO KICK OFF PROCEEDINGS I’ve gone with a rhythm and fills-based approach, as there is only bass and drums at this point

Bb on the backing track – more instruments join in later. Establishing a foundation of the two pentatonic/chord shapes of minor

Db and minor is also helpful before branching out into alternative positions and scales. This feel and tempo also requires accurate timing, so that’s another benefit of this example!

Example 2

Db SHIFTING UP to (yes, in fretboard terms the same as C sharp, if that helps!), I’m basically using the same pattern with a couple of extra embellishments. As well as changing key in this way, it’s worth considering how you want to integrate the rhythm and ‘lead’ playing in this situation. Having implied the chords a few times, I’m feeling more free to venture into single

Bb) notes – and the cheeky minor 6th (implied by the in the last bar!

Example 3

Bb AFTER REVISITING the minor pentatonic for eight bars in a similar vein to Ex 2, we now change approach by switching Db Db briefly to dorian, before sliding up to the relatively safe haven of the minor pentatonic. A fairly subtle move, but enough to give some harmonic variety – and to feel totally justified in relapsing to a favourite blues lick or two!

Example 4

Db THIS PHRASE comes straight off the back of a minor pentatonic run, so is a neat solution to the problem of how to Bb switch seamlessly into the final four chords of the progression. All of these fit over the minor pentatonic, but to create a bit of a crescendo I’ve used slides to ascend to a couple of higher registers/different shapes of the scale.