A lot of blues solos sound boring for one simple reason: people park in the minor pentatonic and play the same shapes over every chord. In this lesson I show you how I fix that with one note—the major third (what I call the “money note”)—so your lines actually outline the I, IV, and V in a 12‑bar blues in A. All three chords are dominant 7 chords, so that major third is the sound that tells the listener, “this is the chord right now.” I walk you through where the major third lives for each chord (C# over A7, F# over D7, and G# over E7), and I treat each spot like its own little playground: sliding into it, bending from the minor third, and using a few stock blues moves (including that Albert Collins vibe and the BB box approach). The big takeaway is you don’t need a million scales—you need better targeting. Once you start landing on that major third (and even bending into it for feel), your phrasing stops sounding like “pentatonic over everything” and starts sounding like you’re playing the changes with pocket and intention.