Tomo Fujita Guitar Wisdom

as a newbie who is somewhat comfortable with pentatonic scales and R-3(b3)-7 triands on all strings, i am not so sure if what i am going to do next is one proper way to go. pls.fell free to suggest.

1) to use c major chord sequence, for instance, II V I (Dmin G7 Cmaj) and for now to use pentatonic scales starting at the root note correspondingly the chord changes. it is not going to be pretty i think, so any suggestion to where i should 'bridge' instead of starting at the root all the times? at overlapsed notes or...?

2) to just focus on string#1,2,3 R-3(b3)-7 triads with all possible inversions, then apply the triads correspondingly to the chords in the chord sequence. do i understand correctly that this is called playing with arpeggios (at the most basic level)? again, any suggestions to how i should 'bridge' to the next chord in the sequence instead of starting at the first degree of the triad inversions all the times?

ps. for the chords in the background, i am just going to use 7th barre chords via a looper pedal.

thank you very much and enjoy learning/practicing to you all.

sorry, i meant How to Star Soloing with a question mark.

Experimenting over a chord loop is always a lot of fun and your ear will eventually tell you what works and what doesn't. I think what you will find, as suggested above, that the 3rd of the target chord will be a very strong tone that will drive home the fact that you've changed to a new chord. It's my favorite way to punctuate blues changes.

The 3rd and 7th are called guide tones for a reason! You can almost make an exercise using just those 6 tones in your ii V I progression and observe how they move with each chord change.

I'd also suggest reviewing the Music Theory II - Applied Theory lessons to help you get ideas for soloing over dominant chords and 1625 progressions.

It is also helpful to note the "nearness" of chord tones in your 251 and use chromatic notes to connect them. The simplest example is that the b7th of the five chord is just one fret away from the major 3rd of the one chord, your home base. That makes a very strong resolution. Use that to your advantage!

I'm also partial to the 6th and 9th degrees for "in between" notes. The blues guys use those notes to great effect. Try them out and see how they work in your jazzy 251! Playing and trying out your hypothesis is the best way to find what sounds good to your ears. Your ears will always tell you what works better, even if your brain disagrees and thinks something else should work better!