Soloing Over “Sunny” – Level 3: Adding Tension and Colour (With Clever Arpeggios and More)
- ryanboisselle
- 1 day ago
- 3 min read
Welcome back!
This is Part 3 of my 3-part video series on building better guitar solos over the tune Sunny. If you haven’t checked out Levels 1 and 2 yet, I recommend starting there:
Level 1 kept it simple with just the A minor pentatonic scale.
Level 2 showed how to pick scales that match each chord.
Now in Level 3, we’re adding more advanced flavors, so things like superimposition (using arpeggios from other chords), diminished ideas for tension, and the altered scale for big, dramatic resolutions.
🎼 Chord-by-Chord Breakdown
Pickup → A Minor 7
I start with a descending E altered scale line to lead into the solo.
The altered scale is your “maximum tension” option over a dominant chord. It’s packed with spicy notes that make the resolution to the next chord hit harder.
Over Am7, I play a C major 7 arpeggio.
This is an example of superimposition (playing an arpeggio from a different chord that still works over the one you’re on). It gives you fresh note choices while staying connected to the harmony.
G Minor 7
Here I use a B♭ major 7 arpeggio, starting from the 9th (a nice “color” note) of Gm7.
This is superimposition again. It’s an easy way to break out of the same G minor scale shape and add new textures.
C7
I outline a C♯ diminished arpeggio.
This is a diminished arpeggio, a repeating pattern built from stacked minor 3rds. It works great over dominant chords because it creates tension that naturally wants to resolve. It adds a sharp, edgy flavor before landing in F major.
B Minor 7♭5 → E7alt
I use a B diminished arpeggio over the Bm7♭5.
Because diminished shapes are symmetrical, this same arpeggio also works perfectly over E7alt, saving you from having to switch shapes.
The 2nd time over E7alt, I stretch into an E HW diminished scale run to build even more tension.
The diminished scale is like a bigger, more detailed version of the diminished arpeggio — and you can move it in equal jumps without changing the sound.
F Major 7
This time around, I use the F Lydian scale, which is essentially the C Major scale. This has much more of an airy dreamy sound than your typical choice of an F major scale over this chord.
B♭7
I aim for the ♭7 to clearly outline the dominant sound and set up the last resolution. Lydian Dominant is also a great choice over this chord. See the Level 2 blog for some great examples.
B Minor 7
I keep it super simple here with the B Dorian scale, letting the phrasing breathe.
Final Resolution
To wrap things up, I land on A natural minor and A minor pentatonic. After all the tension and color, this feels like “home” and gives the solo a clean finish.
🧠 Key Takeaways from Level 3
Superimposition: Try arpeggios from different chords to get new note colors.
Diminished arpeggios and scales: Great for building tension on dominant chords.
Altered scale: Your go-to for maximum tension before resolving to minor.
End on chord tones for a strong, connected sound.
Mix scales and arpeggios for variety and flow.
🎯 Try This:
Loop the chord progression to Sunny
Use superimposition by picking an arpeggio from another chord that fits
Over dominant chords, try a diminished arpeggio for tension
Practice the altered scale over E7alt and resolve into Am7
Always end your phrases on notes that belong to the chord
🎥 Want to Hear It in Action?
You can watch the full solo example in the embedded video below. I explain each move and why it works so you can try them in your own playing.
🗺️ Visual Scale Guide
Here’s a quick chart of the scales and arpeggios I used in this solo. Print it out and bring it to your next jam session.
✨ Want to Take Your Soloing Even Further?
If you’re ready to go beyond memorizing scale shapes and actually sound like you’re speaking the language, I can help.
In lessons, we break down solos you actually want to play and turn those ideas into your own. We work on phrasing, timing, and connecting your lines to the chords so your solos sound musical, not mechanical.
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 make your solos sing.
Let’s take your playing from scale-based to sound-based. 🎸
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