What if the chords you already know are the best roadmap for your solos?
Most players treat the chord progression as background noise and just run scales over the top. I used to do the same thing. This lesson shows you a better way: target the three notes inside each chord (the triad), and your riffs suddenly lock in with the harmony instead of floating over it. In this second part of the series we finish the four-bar Bm–G–D–A progression, working through the D major and A major riffs and tying the whole solo together.
In this lesson, you’ll learn:
- How to build a D major riff directly out of the D major pentatonic shape you already play
- A first-finger A major grip that frees your other fingers for bends and ornaments
- Why starting or landing on a chord tone makes even simple phrases sound intentional
- How the complete four-bar Bm–G–D–A solo hangs together as one musical statement
The jam track below covers all four bars. Download it and practice targeting one chord at a time before you chain the whole thing.