JL
02-03-2003, 12:58 AM
I wanted to respond to Jeff's question on practicing the blues scale from the old forum. Hopefully he'll find this here.
You are correct about the 6 note blues scale. It is:
1 b3 4 b5 5 b7 or in key of C: C Eb F F# Bb
You can also think of this as a type of minor pentatonic scale with the b5 (#4) added.
This particular blues scale can be played over all the chords in a basic blues progression. However, you can add interest by adding certain notes to the blues scale as long as you pay attention to where you are in the progression. For example, on the I chord, you can add in the major third, especially when ascending and when using the b3rd as a grace note. You can also add the maj7, giving it a bebop scale feel, if you put the maj7 on an upbeat. Another thing you can do is substitute other blues scales for the primary one. For example, in C, play an A blues scale (a minor third below C). This will give a sweeter, gosple type sound which contrasts nicely with the primary blues scale. Tim Price has some great examples of using different blues scales over various chords.
I would suggest learning all your blues scales in all keys first. Then look for creative ways to use them. You'll hear many players saying not to overuse the blues scale. Some say to avoid it. I wouldn't agree with avoiding it. Everyone from Charlie Parker to King Curtis used the blues scale. Good players learn to use it in fragments, mixed in with other modes such as mixolydian (in the case of dominant chords), dorian (minor chords), etc. And by adding notes carefully, you can make it more interesting. I play a lot of blues and R&B so am always looking for fresh ways to use the blues scale.
You are correct about the 6 note blues scale. It is:
1 b3 4 b5 5 b7 or in key of C: C Eb F F# Bb
You can also think of this as a type of minor pentatonic scale with the b5 (#4) added.
This particular blues scale can be played over all the chords in a basic blues progression. However, you can add interest by adding certain notes to the blues scale as long as you pay attention to where you are in the progression. For example, on the I chord, you can add in the major third, especially when ascending and when using the b3rd as a grace note. You can also add the maj7, giving it a bebop scale feel, if you put the maj7 on an upbeat. Another thing you can do is substitute other blues scales for the primary one. For example, in C, play an A blues scale (a minor third below C). This will give a sweeter, gosple type sound which contrasts nicely with the primary blues scale. Tim Price has some great examples of using different blues scales over various chords.
I would suggest learning all your blues scales in all keys first. Then look for creative ways to use them. You'll hear many players saying not to overuse the blues scale. Some say to avoid it. I wouldn't agree with avoiding it. Everyone from Charlie Parker to King Curtis used the blues scale. Good players learn to use it in fragments, mixed in with other modes such as mixolydian (in the case of dominant chords), dorian (minor chords), etc. And by adding notes carefully, you can make it more interesting. I play a lot of blues and R&B so am always looking for fresh ways to use the blues scale.