1: 3 - Approaches to Soloing

NOTE! This chart was created with Power Tab. A known issue with Power Tab is occasional incorrect labeling of accidentals in standard
notation. The notes are the correct pitch, but sharps and flats may be incorrectly labeled (ex. a D# may be labeled Eb).

F9sus4 F9 `
*F9sus4 can also be thought of as an Eb major triad over an F bass
E /F F9 F9sus4 F9 F9sus4 F9

V V V V gV
1
I 44 j U W
M
1/2 \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
10 10 8
T 8
A 8 (8) (8)
B

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

V V V W gV V W V V W
5
I j u j
1/2M \\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\\
T 8 8 6 8 8 (8) (8) 6 (6)
A 8
B
P
*E9sus4 can also be thought as a
D major triad over an E bass
Bm9 arpeggio

E9sus4 E7 D/E E7 E9sus4 E7 E9sus4 E7

c
gV V U c
gV gV V
9
I k V k k V k k k V V V
*Anticipates the next chord change
9 7 (7)
T 7 7 7
A 7 7 5 7
5
B

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

c V V V W V
13
I k gV k f V gV k f V k gV k f V gV j
10 8 (8)
T 8 6
A 8 7 8 7 8 7 8
B

c
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

W c
V eV V V V V eV V gV V
17
I j k k k k k k
FullM Cminor arpeggio

T 8 8 8 8 8 6
A 8 8 8
10
B
 1: 3 - Approaches to Soloing

Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

V c V V
V V gV W gV
21
I k j
1/2M
T 8 6 6 8 8
A 8 (8) 8
B
Common Tones - F# is the 5th of Bm7 and the 9th of E7. E is the root and B is the 5th
D is the 3rd or Bm7 and the 7th of E7 of the implied Emaj Chord

Bm7 E7 Bm7 E7 Bm7 E7 Bm7 E7

gV V V V V gV V V gV V V V V V V
25
I j j
T 7 7 7 7 7 7 7 7 5 5
A 7 7 7 7 4
B

*Implies an Ebmaj to an Fmaj chord

Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

c c
V gV V V V V eV V V eV
29
I k j j j j k
10 8 6
T 8 8 10 8
A 8 10 8
B
Common tone - G can be the 5th of Cminor7 or
the 9th of F7

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

V V V V V V V V V gV f V V V
33
I k k k k k k j
5 3 3 3 3 3 3 3
T 6 4 3
A 5
B
P

*Anticipating the modulation 2 beats

before the next measure leading to the next chord

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

c
V V V V eV V V W V gV gV
V
37
I j k k k
3 3 3 3 6 10 8 (8) 7
T 9 7
A 7
B
 1: 3 - Approaches to Soloing

Outlines a Bm9 arpeggio

c
E9sus4 E7 E9sus4 E7 E9sus4 E7 E9sus4 E7

gV V c gV V c
41
I W k gV V V k V V gV V k gV V V j
T 7 7
A 7 6 6 7 6 7 7 6
9 9
B

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

c c V
V V eV V V gV V V V
V gV k V V V V V V
45
I k k k k k k k
M
Bb resloves to A
*Think the 7th of cm7 1/2
Cm9 arpeggio resolving to the 3rd of F7
10 8 13
T 8 8 11 10 8 8
A 8 10 8 10 12 12 10
12 12
B
Chromatic approach - Think of it as F7 chord with
the root note descending chromatically to the 7th

c
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

V V V c
V V eV eV V eV V V V gV V
49
I k k k k
6 8 10 8 3
T 8 6 6 4
A 10 9 8 8 5
B

V V V V eV V
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9
V V V V V V V V V W
53
I 3
3 3 3 3
3 3 3 1 1 3 1
T 3 3 3 1 1 1 1 4 1
A
B
Ascending diatonic thirds help to outline the new chord.
Similar to an arpeggio approach except using two chord tones instead of three
Bm7 E9 Bm7 E9 Bm7 E9 Bm7 E9
c c
gV V gV V V V V gV gVc gV V V gV V gV V V
57
I k k k k V k k k k
2 4 5 7 5 7 8
T 3 5 7 9 7 9 7 9 10
A 7 9
B
 1: 3 - Approaches to Soloing

Up a Cm9 arpeggio with added 6th

V V c
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

V gV f V V V V gV gV
61
I u V V V V V V k
1/2M
10
T 8 8 9
A 8 7 7 7 7 8
10 10 7 10 10
B
P P

outlines a F7 arpeggio

c c
F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

gV V fV gV V V gV
gV V V
65
I j j l V gV k V
M M
Bends up to an A natural which is the 3rd of F7
down a Cminor arpeggio 1/2 1/2

8 10 8
T 8 9 9
A 8 (8) 8 10
10 10
B

Anticipates the next chord change

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

V V fV V V c j V V V gV
69
I gV k k V k V V V k V V V V
gV k f V k k V k k
Uses the G note as an upper pedal tone while changing the notes below
FullM
7 7 5
T 8 8 8 8 8 8 7
A 8 8 7 7 5 5 7 7 8 7 5
B
Chromatic approach from C# to B
A great pattern outlining a Bm9 arpeggio also can be thought of as the 13th to the
5th over an E7 chord
E9sus4 E9 E9sus4 E9 E9sus4 E9
c c
gV V V gV fV V eV V V
73
V V
I V V gV V gV k V k k
V
k
9 8 7
T 5 5 7 7 10 7 10 11 8 9
A 7 6 7 7
9
B
sl.
 1: 3 - Approaches to Soloing

Outlines a Cminor to an Fmajor

F9sus4 F9 F9sus4 F9 F9sus4 F9 F9sus4 F9

V V V gV f V gV c V gV
V V V gV f V V V e V V V V V V V V
77
I k k k j k k k k
Cminor arpeggio with the added 9th
8 3
T 10 8 4 3 4 3 6 6 6 6
A 8 7 8 7 5 4 3 5
10 5 7
B
H P H P sl.
Emphasis on the F note which is a common tone.
F is the 11th of Cm7 and the root of F7

Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

V c
V V V V eV V V V j V eV V V V V V
81
I k k k k k
8
T 6 6 6 6 6 8 6 6 6 8 6 6 6
A 8 8
B
Anticipates the next chord
Fmajor triad Cm9 arpeggio
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9
c
V V V V V V
V V V eV V V V
V V V eV
85
I k k k k k
10 8 5 8 5 6 10 8 7 5
T 6 8 8
A 5 8 8
B
sl.

c
Bm7 E9 Bm7 E9 Bm7 E9 Bm7 E9
c c
89
I
gV V V j k
V gV V V j
k k V gV V V V V V j j gV V V V
B minor triad
u
3
T 7 7 7 7 5 7 5
A 7 7 7 7 6 7 6 7
9 9
B
sl. H P H

F major triad with a chromatic approach from

below to the A natural which is the 3rd of F major
Ascending diatonic 3rds
Cm7 F9 Cm7 F9 Cm7 F9 Cm7 F9

V V eV V V V V eV V eV V V gV V V
93
I V V k k k k k k k k u
6 6 10 8
T 6 6 8 8 10 10 8 9 10
A 7 8 10 10
B
sl. sl.
 1: 3 - Approaches to Soloing

c
V V V V V
V j u
1
I k
10 8 15 (15) 13
T
A
B
P