​If you think of this progression as a V-IV-I in F Major, and play the F Major pentatonic scale, it sounds warm.  But if you think of it as a I-bVII-IV in C Major, you can play the C minor pent. (which sounds dark) OR the C Major pent. (which also sounds warm, but different)! 

 Flat-7 chords (bVII) get used lots in all kinds of music including bluesy-rock, bluegrass, country, and more.  They're used WAY more often than the "real" 7 chord, called a "diminished" chord. 

​Experiment with the C minor pentatonic, and then the C Major pentatonic (adding in some F & Bb notes) for different sounds!

  Each "rule-breaking" note or chord has it's own sound.  When

you recognize a rule is being broken, try to figure out how it's

being broken & learn the unique sound of each "rule-breaker"! 

 IMPORTANT: In Fretboard Toolboxes, any time you see a chord

or a note in italics, it means that something is outside of the key. 

This progression is another one that shows the power of scales to change the songs feel.  If you play the C Major pentatonic scale with this progression, it sounds warm & sweet.  However, if you play the C minor pentatonic scale, it sounds super dark! Try mixing and matching them and see what you come up with!​ 

  Now see how many of these chord progressions you can play along with when you don't know which track is coming up next! Use the Roman numerals that show up in the audio player as your clues & practice learning those Roman numerals here!  

  This is where you really start going a long ways towards training your ear and building the muscle memory you need to play songs "on the fly"! 

All of this page's Tracks on Shuffle!

Track #9: C-G-F-Eb

I-V-IV-bIII

Track #8: C-Eb-Bb-F

I-bIII-bVII-IV

Track #7: C-Bb-F

I-bVII-IV

Track #5: C-Eb-F

I-bIII-IV

SomeC Blues Chord Progressions (blues keys in Complete Editions only)

Track #2: Quick-change 12 Bar Blues in C  

I-IV-V

C Major Chord Jam Track: All C Major

Progression in Roman numerals: I 

     See these scales with a Fretboard Toolbox:

• Use pages 19-20 of any Complete Edition
  
• note with (*) is the "flat-5"/"blues note"

Bar 1-4:  I-IV-I-I    Bar 5-8:  IV-IV-I-I   Bar 9-12:  V-IV-I-V

The "IV" chord in the second bar is the "quick-change".

​Bar 1-4:  I-I-I-I      Bar 5-8:  IV-IV-I-I      Bar 9-12:  V-IV-I-V

The "V" chord in the 12th bar is called the "turn-around". ​

​

Take a look at all of the chords listed on this page, and then look at

the five minor pentatonic notes in white boxes.  The root note of all

of the (Major) chords on this page are minor pentatonic notes!

Noodle around with the minor pentatonic scale while this track is

being played, and then notice which notes sound best over which chord.  The best sounding notes are most often part of the chord

that's currently being played.  It's like this in all keys!

​

​

Track #4: C-Eb-C

I-bIII-I

Track #1: Simple 12 Bar Blues in C Major 

I-IV-V

​

The whole goal of Fretboard Toolboxes is not to memorize all of the notes of each key, scale, and chord -- it's to help you build mental

& visual maps of the common shapes you'll use for chords & scales, which leads to strong ear and muscle memory!

​To play dominant 7 chords (like C7), just add the note shown in parentheses in the "Chord Notes" column to the Major chord.

​

Play this through once soloing with the minor pentatonic, then

use the Major pentatonic the next time to hear a BIG difference!

​-First try playing the minor pentatonic scale over this track to get a cool, dark, bluesy sound.  (The notes in WHITE BOXES on the even-numbered Blues key pages of any Complete Edition). 

-Next, try the Major pentatonic scale with the same track & you'll completely change the feel to sound warmer & more country-like. (All underlined notes in Complete or Essential Editions).

-Great blues players use both scales, often in the same song!

Track #6: C-Bb-C

I-bVII-I

Track #3: G-F-C 

V-IV-I

For these C Blues tracks, experiment with these scales:
C Major pentatonic: C, D, E, G, A (underlined notes, pp. 19-20)

C minor pentatonic: C, Eb, F, G, Bb  (notes in white boxes p. 20)