10 Essential Guide Tone Patterns


One of the most popular questions I get from guitarists is: 


“How do I use guide tones to solo over chord changes?” 


To help you with this question, in this lesson you learn 10 essential guide tone patterns that fit over ii-V-I changes.


If you’re new to guide tones, check out the background info before moving on to the 10 patterns in this lesson to build a foundation with these essential notes.


Grab your guitar, crank your amp, and have fun learning these 10 essential guide tone patterns for guitar. 

Intro to Guide Tones


In this lesson, you focus on the most important and commonly used guide tones, the b7 to 3.


Specifically, you look at how these two notes connect chords within a ii-V-I progression. 


These guide tones move by half step between chords, allowing for a smooth transition from the iim7 to the V7 to the Imaj7 in your soloing. 


In this key of G major, the key in the examples below, these guides tones move by:


The b7 of Am7, G, moves to F#, the 3rd of D7. 


The b7 of D7, C, moves to B, the 3rd of Gmaj7.


You can see how these guide tones resolve down by half-step from one chord to the next, leading smoothly through the entire progression. 


As you learn any of the patterns in this lesson, watch out for that b7-3 movement so you can recognize it by sight and ear when you’re studying guide tones. 


Guide Tone Pattern 1


The first guide tone pattern features an ascending arpeggio over the iim7 chord, followed by a descending scale pattern over the V7 chord. 


There’s also a 3 to 9 arpeggio over the Imaj7 chord to finish the phrase. 

Am7 D7 Gmaj7 Short Backing Track

Guide Tone Patterns 1

Guide Tone Pattern 2


You now add in the triplet rhythm as you expand on the material in the previous two patterns.


Using rhythms to alter your lines is an effective way to expand any pattern or phrase when soloing over jazz standards and other tunes.


Because of this, practicing different rhythms when playing guide tone patterns is essential for every guitarist to explore in the practice room.

Am7 D7 Gmaj7 Short Backing Track

Guide Tone Patterns 2

Guide Tone Pattern 3


You now add in the triplet rhythm as you expand on the material in the previous two patterns.


Using rhythms to alter your lines is an effective way to expand any pattern or phrase when soloing over jazz standards and other tunes. 


Because of this, practicing different rhythms when playing guide tone patterns is essential for every guitarist to explore in the practice room. 

Am7 D7 Gmaj7 Short Backing Track

Guide Tone Patterns 3

Guide Tone Pattern 4


Here, you arrive at the guide tones from above using arpeggios and scale notes to hit those target notes inside this phrase. 


As you can see, changing direction in your lines makes a big difference when soloing over ii V I’s using patterns and guide tones. 

Am7 D7 Gmaj7 Short Backing Track

Guide Tone Patterns 4

Guide Tone Pattern 5


In this pattern, you play mostly scale-based ideas to reach each guide tone for the iim7, V7, and Imaj7 chords. 


Using jazz scales to outline changes brings out the sound of the progression and breaks you out of running arpeggios all the time in your solos. 

Am7 D7 Gmaj7 Short Backing Track

Guide Tone Patterns 5

Guide Tone Pattern 6


In this phrase, you explore the concept of anticipation between the Am7 and D7 chords, where the b7 of Am7 resolves to the 3rd of D7 before that chord is heard. 


The more comfortable you get with guide tones, the more you can experiment with anticipation and delayed resolution in your lines and solos.

Am7 D7 Gmaj7 Backing Track

Guide Tone Patterns 6

Guide Tone Pattern 7


Here, you use one of my favorite jazz techniques, the enclosure, as you play enclosures over the 3rd of the V7 and Imaj7 chords in this phrase. 


An enclosure, in this context, is where you play one fret above, then one fret below, before landing on your target note. 


This concept allows you to turn one note into three and create tension and release with an organized approach to the resolution in your solos. 

Am7 D7 Gmaj7 Backing Track

Guide Tone Patterns 7

Guide Tone Pattern 8


This pattern, in the style of Pat Martino, uses chromatic notes and long slurs to hide the guide tones, while keeping the guide tone vibe throughout. 


To expand your guide tone lines further, add chromatic notes, slurs, and other techniques to move beyond only playing b7-3 directly.

Am7 D7 Gmaj7 Backing Track

Guide Tone Patterns 8

Guide Tone Pattern 9


You can also use chord subs to level up your guide tone outlines. 


In this pattern, I turned a ii V I progression into a iii VI ii V I progression by playing Bm7-E7 then Am7-D7 over the Am7-D7-Gmaj7 chords. 


This type of sub, playing iii VI ii V over ii V, is a popular way to create interest over ii V chords, and is something that you shoul explore further in the woodshed.

Am7 D7 Gmaj7 Backing Track

Guide Tone Patterns 9

 Guide Tone Pattern 10


In this last pattern, you add a half-step ii-V above the original chords to create tension and release in the harmony over a ii-V-I.  


You can hear these subs in Mike Stern’s solos as he’s a big fan of this way of outlining ii-V-I’s in his improvisation. 

Am7 D7 Gmaj7 Backing Track

Guide Tone Patterns 10

Guide Tone Exercises


Here are 5 ways that you can practice these guide tone patterns in the woodshed. 


  • Sing the guide tones over a ii-V-I progression in 1 or more keys.
  • Play guide tones over a standard, solo only with those notes from there. 
  • Add in any/all concepts from this lesson to your guide tone solos. 
  • Write 10 guide tone patterns of your own.  
  • Transcribe a solo by your favorite jazz guitarist and find the guide tones.


Have fun learning these 10 patterns and adding them to your solos as you build your confidence and vocabulary over ii-V-I chord progressions.