Using arpeggios to imply dominant 9th chords in your solos sounds complicated – but Jim Oblon can explain all, and it might be the secret sauce your improvised leads are waiting for

In my last column, we looked at some rhythm and lead approaches to playing over a 12-bar blues progression in the key of A that’s set to a brisk, country-style “train beat” with a swing-16ths feel.

Using this same template, I’d now like to offer some examples of ways to apply rootless dominant 9th chord arpeggios over the progression’s I, IV and V chords, A7, D7 and E7.

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