Ten dif­fer­ent scales with ap­pro­pri­ate licks

Guitar Techniques - - BLUES THEORY -

ex­am­ple 3: blues sCale (r-b3-4-b5-5-b7) The blues scale is a mi­nor Pen­ta­tonic scale with added flat­tened 5th in­ter­val. The b5 is of­ten re­ferred to as the ‘blue’ note. The ad­di­tion of the b5 pro­vides a six-note scale that helps to make as­cend­ing and de­scend­ing lines flow; it also adds a colour­ful dis­so­nance. We have in­cluded the fin­ger­ing for this scale above the no­ta­tion as this makes life much eas­ier. The lick starts with a catchy re­peat­ing2 Ti­tle phrase, fol­lowed by a clas­sic de­scend­ing run. The idea in beat three of bar 32 is a popular way to in­clude the b5 in­ter­val in a great-sound­ing phrase. ex­am­ple 4: ma­jor blues sCale (r-2-b3-3-5-6) If we move this fin­ger­ing down three frets we get the ma­jor ver­sion - the ma­jor Pen­ta­tonic with an added mi­nor 3rd. This scale is of­ten used in coun­try and coun­try rock, but is also use­ful in the blues. Just like our ma­jor and mi­nor Pen­ta­tonic ideas, our blues scale and coun­try pen­ta­tonic licks are in­ter­change­able by sim­ply by mov­ing the shape up or down three frets. Re­mem­ber, es­pe­cially when im­pro­vis­ing, that what was the root note note in the A mi­nor Blues shape is now the ma­jor 6th in the ma­jor Blues shape.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.