Originally posted by noticingthemistake

b2-3, or Bb to C over a A minor chord. b5 to natural 5, which as I said any unwanted dissonance could be remedied by resolving a half step (up) to a consonant note. Even if you wanted the root, since the minor pent doesn't have a 6th tone. It's not an alteration to just add the 6th tone. This same problem occurs even when you just use I IV and V. Take the V chord and use a blues scale, in the blues scale the 7 is b7. This would cause problems for the V chord, since the b7 is suggesting a minor V chord. The same remedy works for both, which would be to resolve the b7 to 7, or over the V chord, b3-3. This is true in all altered scales.

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I know this, but a beginning player who is just thinking of the scale as a pattern and not as individual notes and how they relate to the harmony is not going to realize this.

Melody is still the key to what is going to sound good for use of a guitar solo. For instance, in this one band I play with we do this old Sam Cooke tune (Bring it on Home...and no, not the zeppelin tune)which is nothing more then I7 V7 I7 IV7 I7 IV7 V7 I7 IV7 I7 V7..just a variation of a 8 bar blues. The major 3rd and 6th are so predominant in the melody that if you come in with a minor blues scale for the solo it sounds like your playing a whole different song then the rest of the band, and not in a good way. Now, I figured a way of utilizing the minor blues scale within the solo by 1st beginning the solo w/the major pent and throwing in hints of the minor by playing phrases consisting of the b3 resolving to the maj3, and b7 resolving to 6. By about the 3rd chorus it is possible to slam into a down and dirty blues solo consisting entirely of minor blues, and it sounds cool when the singer comes back in with the major melody again. Anyway, my point being, that I find from experience that the melody of the song is going to dictate the flavor of the guitar solo.