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Spicier Soloing Over Isn’t She Lovely (Chord Tones, Arpeggios, Passing Notes)

So in this blog, I'd like to talk about a tune I get a lot of questions about from students in my lessons, which is Stevie Wonder's Isn't She Lovely. Over this tune, most people chose to use the C♯ minor pentatonic scale over the whole thing.


But if that’s all you use, your solo can start to feel flat, repetitive, or disconnected from the harmony.


In this post, we’re going to look at how to move beyond that by analyzing a solo I recorded that outlines some more interesting, expressive, and musical options over this tune.


We’ll still use minor pentatonic as a home base, but we’ll expand from there by:

  • Targeting chord tones

  • Mixing in C♯ natural minor

  • Using arpeggios like minor 9 and dominant 7

  • Adding a diminished arpeggio to build tension


The result is a solo that sounds melodic, intentional, and soulful.



🎼 Chord-by-Chord Breakdown


F♯7 → B7


We start with strong chord tone targeting, hitting the 3rd, 7th and root of each chord to make the harmony come through clearly.


Instead of just running a scale, the phrases land on key chord tones, giving the line structure and connection right from the start.


C♯ Minor Section


This is where you start to hear the melodic layering kick in.

  • You outline a C♯ minor 9 arpeggio, which adds color and sophistication to the solo

  • Then you shift between C♯ natural minor and C♯ minor pentatonic, depending on the mood of the phrase


This lets you keep the soulful core of the tune while adding harmonic depth and variety.


Emaj7


Over this chord you can ofcourse stick to the C# minor pentatonic scale, but you can also make a brief switch to the E minor pentatonic scale which is what I did for the 2nd time the Emaj7 chord came up. This adds just a little spice to your solo.


The 2nd time around the changes, I went for something a little extra.


I mixed Emaj7 chord tones with passing tones from the E major scale, creating a phrase that’s smooth and expressive.


🎵 What’s happening:

  • Chord tones: G♯, B, D♯, E

  • Passing tones: A, C♯, F♯


These passing notes aren’t part of the Emaj7 chord itself, but they’re in key. When phrased well, they add motion and fluidity without sounding dissonant.

Why it works: You’re not just outlining the chord. You’re moving through it. That’s what gives the line life.


G♯7

You bring in some dominant arpeggio shapes here to clearly outline the G♯7 chord, including a quick diminished arpeggio for tension.

It’s a short moment, but really effective. That little flash of tension sets up the return to C♯ minor beautifully.

Try this: Practice a G♯7 arpeggio and add a diminished run that resolves into C♯ minor. You’ll feel the pull immediately.

C♯m7 Resolution


To wrap it up, the solo returns to C♯ minor pentatonic with a smooth, lyrical phrase.

It’s a great example of space and simplicity. After all the harmonic motion earlier, this gives the solo a relaxed and grounded finish.



🧠 Key Takeaways

  • Use chord tone targeting to make your solo feel connected to the changes

  • Mix natural minor and pentatonic to shift between color and grit

  • Try arpeggios like C♯m9 or G♯7 for melodic direction

  • Use a diminished arpeggio over dominant chords for quick tension and release

  • Think in phrases, not licks, and let each section breathe



🎯 Try This

  • Loop the Isn’t She Lovely progression or use a backing track

  • Start by just outlining chord tones over F♯7 → B7

  • Try a C♯ minor 9 arpeggio over the tonic section

  • Over Emaj7, use E major scale but aim for chord tones and passing tones

  • Over G♯7, experiment with a diminished arpeggio and resolve it into C♯m7

  • End with a simple, strong pentatonic phrase that feels like home



🎥 Want to Hear It in Action?

Check out the embedded video below to hear this solo in full. I walk through the phrasing, scale choices and ideas I used so you can try them out in your own playing.



Try stealing a line or two and see how it feels under your fingers, then tweak it and make it your own.




✨ Want Help Making Your Solos Sound more interesting?

If you’re ready to move beyond memorizing scale shapes and start building solos that feel musical, expressive and personal, I’d love to help.


In lessons, I help students break down solos they actually want to play. Then we turn those ideas into phrases of their own.


We focus on feel, phrasing, harmony and sound. Not just speed or note-count.


I teach private and group lessons in Tokyo (Takadanobaba), and online, in both English and Japanese. Whether you’re into funk, R&B, soul or jazz, I’ll help you build the tools to solo confidently and creatively.


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


Let’s bring your solos to life, one phrase at a time. 🎸

 
 
 

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