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We all know the intervals for our minor pentatonics. If you don’t, they are 1, b3, 4, 5, b7. A simple 5 note scale you could play the blues with from now until the lights go out. But if you want to go further, try adding the b5. Now you have a 6 note scale often referred to as the “blues scale.” Want more? Try the 2nd and 6th (or 9th and 13th respectively if voiced an octave above the root, loosely speaking). Now you have an 8 note scale. For those more knowledgeable in your theory, you have now noticed we have entered the realm of the major scale (more on that in a bit). Still hungry? Well then, there is the all important major 3rd. So if my math is right, we now have a 9 note scale, and it is very common to hear all 9 of these notes in a blues solo. When, why and where? Hold on. At this point during the discussion you will inevitably bump into someone who will start talking about modes. It is true that, if you prefer to think in modes, you’ve left pentatonics behind long ago. Alas, it’s a matter of preference. Personally, I like to think of it as playing my pentatonics with an added note or 2 or 3 on occasion. Again, it’s your call. Now, the when, where and why to add these notes. The easy answer is color, or expression, if you prefer. Dropping major scale notes such as a 2nd or 6th in contrast to the minor pent notes can add a very interesting contrast. A kind of happy/sad thing. They can also work nicely as lead notes, indicating a chord change. And the “blue note”? Many times it’s used as a passing note or a note to bend to or past, adds a very, well, bluesy sound. And the major 3rd. It’s the 3rd interval of your major triad so indicates a major chord or change to a major chord. By and large I use it with the I chord. Red Flag Here: Proceed With Caution. If you’re playing in a minor key, you can forget about most of this, especially the major 3rd. It won’t work. In contrast, that b5 will add something fine to your minor progression. Bottom line is, always is, what is your ear telling you? Is this note working here? During the IV chord but sounds sour with the I? Vise-versa? Experiment and take your solos to the next level. An interesting note here: T-Bone Walker, who influenced players from Bobby Bland to The Allman Brothers to Chuck Berry along with scads of others, seldom wandered outside this 9 note scale in the first position. ‘Course, that was T-Bone. But those were his notes. Phrasing? That’s on you. Start with the pentas, add if you feel the need, you’ll find your way. Study hard, enjoy, and have fun. Do this and there’s no need to go looking for the spoils. They will find you. Jam On!
D5
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