Posts Tagged ‘Minor Pentatonic Scale’

The blues guitar scales are really based off of the pentatonic scales with one extra note added. We call that extra note the “blue note” because it gives the pentatonic scale its obvious “bluesyness.” The only real difference between the scales on the guitar and the same scales on any other instrument is the fact that there is more than one way to play them on a guitar. This is due mostly to the fact that the guitar is a stringed instrument and there are at least 3-5 ways to play any unique note.

The minor pentatonic scale is created using the root (or 1), flatted 3rd, 4th, 5th, and flatted 7th of a major scale. Notice that there is no 2nd or 6th scale tone used. There’s an interesting reason for that but it requires a substantial amount of music theory to explain it and this isn’t really the place for that.

To create the minor blues scale we take the minor pentatonic scale and add a flatted 5th (or sharp 4) to it. In the key of A, this creates a scale with the notes A, C, D, Eb, E, and G in it. Some people don’t differentiate between the minor and the major blues scales. If someone calls a scale a blues scale, assume they mean the minor version.

A major pentatonic scale is created with the 1st (root,) 2nd, 3rd, 5th, and 6th tone of a major scale. In C that would be C, D, E, G, and A. To make it a major blues scale you add a flatted 3rd which gives you C, D, Eb, E, G, and A in the key of C.

Notice that the rule governing relative major and minor keys/scales is also in effect here. If you look at the keys of A minor and C major, which are relative, meaning they contain the same notes, you’ll see the same group of notes.

The A minor blues scale is A, C, D, Eb, E, and G. The C major blues scale is C, D, Eb, E, G, and A. Same notes, different starting point. This sort of thing happens all the time in music. This is of particular interest if you’re playing blues lead guitar because you can see that your blues guitar scales really do double duty. Once you learn one pattern, it’s really useful for 2 keys, one major and one minor.

So how to we apply this scale to a standard 12 bar blues chord progression? What’s cool is that the simplest approach is really simple. Whatever the first chord of the chord progression is, let’s say it’s A7, use that minor blues scale to solo over the song. There’s no need to change scales at any time.

Keep in mind that this is only one possible approach, and in many cases it’s not the best approach. There are several ways to play over a 12 bar progression, or any other kind of chord progression. Many of these approaches use some combination of major and minor blues scales.

It is easy to find the 5 “boxes” or patterns of the blues scale on the internet. A simple search should turn up hundreds of choices. Once you learn the blues scales and have them under your fingers. You’ll want to start jamming with them and learning how to make the sounds you want to hear.

Generally, playing the Blues is an emotional high for most guitarists. When one perfects the techniques necessary in order to execute guitar solos in this particular idiom of music, audiences perk up and really get into the groove. The Blues can certainly move people. The chord changes, pertaining to the Blues, are also very moving to most audiences.

As we all know, there many forms and styles of the Blues. Delta, Mississippi, and the Chicago Blues are just a few that come to mind. Many guitarists and artists have devoted their entire lives to perfecting their presentation of the Blues. Once again, this is well known by all. Most of us are thankful that they did.

This article is intended to explain a few approaches to playing contemporary Blues guitar. Here, the guitar chord and guitar scale application is quite different from the above referenced forms of Blues. Further, this article is not intended to teach any particular style of Blues. The intent here is to merely examine some contemporary approaches to playing the Blues.

Many guitarists think in terms of utilizing pentatonic scales when approaching a Blues situation. Further, many guitarist, in the contemporary sense, utilize the I- IV- V progression as their fundamental harmonic approach. The I- IV- V progression can be major chords (generally triads), dominant chords (7th’s, 9th’s, 11th’s, 13th’s), minor chords (minor triad, minor 7, minor 9, minor 11, minor 13, etc.), or a combination of all of these chords (and sometimes more).

A common approach to a I-IV-V Blues progression (all major chords), is the use of a minor pentatonic scale over all three chords. For example, a chord progression utilizing an A7 (I chord), progressing to a D9 chord (IV chord), and then using an E9 chord as the V chord would generally dictate the use of an A minor pentatonic scale (played at the 5th fret; A) for all three chords. This type of chord progression is considered standard Blues I-IV-V. However, the guitar scale approach can be anything but standard. It’s all open to interpretation as a guitarist or any instrumentalist. The interpretation is where the fun comes in.

Now, we all know that a true pentatonic scale consists of a root note, b3rd, 4th, 5th, and b7th. Therefore an A minor Pentatonic Scale would contain the following notes: A (root), C (b3rd), D (4th), E (5th), and G (b7th). Once again, this A minor pentatonic scale works great when played over the A7, D9, and E9 chords. However, it’s fun to experiment and switch things up a little bit when performing for an audience. This is where clever departure from the anticipated and standard really pays off. Think about this concept for a minute (wish I could remember where I heard this). If we change the way we look at things, then the things we look at change. It’s a simple, but a very profound lesson in life and in music.

The next time you bump in to this type of progression, experiment with sound. For example, play the A minor pentatonic scale over the I chord (A7). When you progress to the D9 chord (IV chord), play an A Dorian Scale (Dorian Mode). The Dorian Mode works well against the sound of the D9 chord. Why? Here’s a good field trip for some of you. Go back and read my article entitled The Dorian Mode-What Every Guitarist Should Know. Look for the most characteristic element of the Dorian Mode. Then, analyze the D9 chord. Is there something that both the Dorian Mode (played at 5th fret; A) and the D9 chord have in common? Of course there is. You really didn’t think you’d get out of this article without putting in some work, did you?

Another fun approach to the D9 (IV chord) chord, is to play a D Mixolydian Scale (no substitutions) against the D9 chord, but only against the D9 chord. The Mixolydian Scale is a dominant scale. Therefore, it works and sounds great against the D9 chord, which is a dominant chord. The sound of this particular combination is very uplifting to an audience. It also contains an element of surprise. Surprise is a good thing in music.

Let us not forget the blue note. It’s best to think in terms of that minor pentatonic scale again (played at the 5th fret; A) in order to analyze the blue note. The blue note occurs by lowering the 5th of the A minor pentatonic scale by a half step. Therefore, the actual blues scale would now contain the following notes: A-C-D-Eb-E-G. The Eb isthe blue note. The strict theorists have an obsessive need to hear the blue note. I agree with their obsession. The blue note (lowered 5th of the A minor pentatonic scale) sounds great played against the A7 chord, D9 chord, and the E9 chord. This is the authentic blues scale.

As a general rule, less is more when playing the Blues. The chords referenced above are extended chords. While they may be used in a Blues scenario, it’s best to keep the chord progressions and the actual chords simple. Simplicity is the essence of the Blues. The beauty is in the scale selection (melodic solo application). When the actual chords are 3 or 4 part chords, the scale tones (whether pentatonic or diatonic) can imply different things for different listeners. Once again, this implication is what makes the movement of Blues attractive and emotional.

Try playing an E Mixolydian Scale (Mixolydian Mode) against the E9 chord (V chord). This also adds an element of surprise for the listener. There are literally hundreds of options and choices that we could analyze for a blues progression. It’s all about the choices. Knowledge is king. Application is just a simple matter of choice.

The truth is that one could literally employ several altered chords, altered scales, and imply different key signatures all day and all night (including traditional minor keys and scales). That is, those who are well schooled in theory and application.

Can you imagine approaching a simple Blues progression with hundreds of choices to throw at the progression? If not, then you’re limiting yourself. It’s really that simple. When the thirst for authentic education hits, progress is inevitable.

Playing Blues guitar can be fun and rewarding for those who choose this particular style. While Blues is a standard part of my teaching curriculum, my personal favorite and style is progressive Pop-Rock. The challenges, for me, are much greater and the choices are endless.

Could this article have contained references to key signatures and almost every melodic and harmonic approach to playing the Blues? The answer is yes. However, the true intent here is to help those who need a little motivation, not to spoon-feed.

Whatever your style, it’s important to develop an awareness of music theory. Through this awareness, you’ll develop the ability to make choices. This is a winning scenario.