Soloing Over “Sunny” – Level 2: Smarter Scale Choices (Lydian Dominant, G Dorian, etc.)

ryanboisselle
Oct 6
4 min read

Welcome back! This post is Part 2 of my 3-part video series on how to build better guitar solos over the tune Sunny. If you missed Part 1, I highly recommend starting there—we kept things simple using just the A minor pentatonic scale, and it’s the perfect foundation for what we’re about to do here.

In this Level 2 breakdown, we’re going to take things a step deeper. Instead of staying locked into one scale, we’ll start reacting to the chords underneath and choosing scales that reflect the harmony more intentionally. It’s not about complexity—it’s about connection.

Let’s dig in.

🎼 Scale-by-Scale Breakdown

1. A Natural Minor

We start off with the A natural minor scale over the A minor 7 chord. I’m not running the whole shape—just using a few select notes, including a slide into the second degree (B), which adds a subtle jazzy flavor.

This is a great example of how you can bring expression to your lines even when you’re just using a small chunk of a scale.

2. G Dorian (Same Notes as F Major)

When the harmony moves to a G minor 7 chord, I switch to G Dorian—a mode that shares the same notes as F major. This is a key moment in the solo because it marks a modal shift.

The notes didn’t change, but the context did—and that creates a totally different sound. G Dorian gives a soulful, modern color that works beautifully over minor 7 chords.

3. A Harmonic Minor

Here’s where things start to spice up. Over the E7 chord, I briefly jump into A harmonic minor.

This scale gives off a more tense, exotic vibe—perfect for building toward a resolution. If you’re looking for ways to add drama and keep your solos from sounding too “safe,” this is a scale worth experimenting with.

4. B♭ Lydian Dominant

This chord tends to throw people off, but one of the best solutions is the Lydian dominant scale. Over the B♭7 chord, I use this scale to bring in that dreamy, almost surreal vibe—thanks to the sharp 4 (E natural over B♭).

It’s a surprising sound, and it adds a nice twist before we come back home.

5. B Minor Pentatonic

This one’s subtle, but effective. Over the B minor 7 chord, most people default back to A minor pentatonic. But here, I briefly switch to B minor pentatonic for a fresh color.

It’s a small shift, but these kinds of micro-adjustments can really make a solo feel more dynamic and musical.

6. A Minor Pentatonic (Again)

Just like in Level 1, I return to A minor pentatonic near the end of the solo. It gives the whole thing a sense of resolution and helps ground the listener.

Even as you expand your harmonic vocabulary, don’t be afraid to return to home base.

🧠 Takeaways from Level 2

Don’t feel like you need to “use all the scales”—just pick what fits each chord.
Start thinking about what the chord is asking for—and let your lines reflect that.
Use phrasing tools like slides and bends to bring the scale to life.
Remember: the goal isn’t complexity, it’s connection.

🎯 Try This:

Loop the progression to Sunny (or find a backing track)
Try just two scales: A natural minor and G Dorian
Focus on making one strong phrase per chord
Don’t overplay—just react to the harmony and listen to how the mood shifts

🎥 Want to Hear It in Action?

You can watch the full solo example in the embedded video below. I walk through each phrase and scale choice so you can hear exactly how this all works in context. Try stealing a few lines and seeing how they feel under your fingers!

🗺️ Visual Scale Guide

Not sure which scale to use over which chord? Here’s a quick visual breakdown based on what I used in the video:

Save it, print it, or screenshot it—take it along with you to your next Jam session.

✨ Want to Build Solos That Really Speak?

If you’re tired of noodling through scales and want to start building real soloing vocabulary, I’d love to help.

In lessons, I work with students to break down solos they actually care about—and show them how to turn those ideas into phrases of their own. We go beyond notes and talk about phrasing, rhythm, and how to make your solos feel like music, not exercises.

I teach private and group lessons in Tokyo (Takadanobaba), and online, in both English and Japanese. Whether you’re into funk, jazz, soul, or pop, I’ll help you understand what’s going on under the hood—and how to start using it in your own playing.

👉 Click here to check my availability and book a free trial lesson

Let’s take your soloing from scale-based to sound-based. 🎸