Some of your notes are steady. The root is home over the first chord and over the fourth. Others change job every time the chord does, and those are the notes worth learning first, because they are where a solo either sounds like it knows the form or sounds like it is guessing.
Two notes, twelve bars
D leans onto C♯ over A7 D leans onto C♯ over A7 D leans onto C♯ over A7 D leans onto C♯ over A7 D rests over D7 D rests over D7 D leans onto C♯ over A7 D leans onto C♯ over A7 D rests over E7 D rests over D7 D leans onto C♯ over A7 D rests over E7
Read along the D row: it leans onto C♯ over A7, rests over D7 and rests over E7. A filled disc is a note you can stop on, a tick under it leans onto the note below and a tick over it bends up into the note above.
Take D first, the fourth of your scale. Over A7 it sits one fret above C♯, the chord’s third, and it leans onto it. Over D7 it is the root of the chord, which is as settled as a note gets. Over E7 it is the chord’s seventh, settled again. One note, three bars, three different jobs, and not one of them asks you to move your hand.
Now G, the ♭7. Over A7 it is the chord’s own seventh, so it settles. Over D7 it leans, a fret above F♯. Over E7 it is a semitone below G♯ and it is the blue third all over again — the same push you learned in Part 2, in a bar you would not have expected it.
Playing it
Hold G through the change from A7 to D7 and listen to it stop being comfortable. Then do the same thing on purpose: play G in bar five and bend it a little toward the note above, and the change announces itself. Playing a note that leans is not a mistake. Holding it as if it were home is.
This lesson was drafted with the help of AI, so it may contain a mistake. Its diagrams are drawn by Everyfret’s own software. How Everyfret is made