IN THE PAST two columns, we looked at some rhythm and lead approaches to playing over a 12-bar blues progression in the key of A that’s set to a brisk, country-style “train beat” with a swing-16ths feel. Using this same template, I’d now like to offer some examples of ways to apply rootless dominant 9th chord arpeggios over the progression’s I, IV and V chords, A7, D7 and E7.
FIGURE 1 is an improvised solo played over the 12-bar form. Globally, one can think of the lines played over A7 as being based on the A Mixolydian mode (A, B, C # , D, E, F # , G), the lines over D7 as being based on D Mixolydian (D, E, F #, G, A, B, C) and those over…
