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![]() ![]() If it doesn't, listen to the blues for a while until it does.īy the way, that's not to say that people don't use the major blues scale over major blues. You have no business playing an F# in a G7 chord. And you still have that Gb, which is its blue note! The Gb is so tied to the F that you don't hear it conflicting with the G you only hear it as wanting, so badly, to get to the F, which wants to go to Eb and then C. It's a blue note! Except that you don't want to play this one flat since you're hearing the F chord all the time, so it's almost a blue note, really. And the F plays the same role as the Bb in C7 and Eb in F7. It creates a tension between the harmony implied by the melody and the harmony that's actually there, and that just makes the actual getting there all the better when the tension gets resolved. The C is not an avoid note here because when you play it, it sounds like you just got there a little early, because that's where the G7 wants to resolve. The Bb is the only thing that could conflict with the B, but it doesn't for the same reason that the Eb doesn't conflict with the E in the C7. So you get the bonus of playing the scale with no "avoid" notes at all. That's because the notes of this harmony aren't really compatible with the scale. ![]() Play the hell out of it, and go as low in pitch as you can stand. Instead, you got a Gb, that beautiful b9 that tends down to the F so hard. over an F7, you really don't want to emphasize the G, which is not a very important note. The G and Bb aren't really in the chord, but they're passing tones, no big deal. The Eb still has the same blue purpose of going to the C, but it can also tend to the F here in an F7 chord. In this case, C, Eb, and F are all in the chord. The Bb can go down to the G - like the Eb to the C - or it can go up to the C. Then you have the Bb, which is another blue note that you're supposed to play flat. Its purpose is melodic and it's not conflicting with anything in the chord. The F# is the leading tone to G, and it's really fine in that role here. The G is stable, but you can tonicize it with the F#. The F will conflict with the E, because the E and the F tend to each other. The F is kind of weird - it's traditionally considered the "avoid" note in C. You don't even hear them as part of the same thing. The reason it's OK is because the function of the E and the function of the Eb are different. It wants to resolve down to C, and the flatter you play that Eb the better. In a C minor chord, the Eb is also stable, but this isn't a C minor! The Eb is a blue note here. In a C7 chord, the C, the E, and the G are all stable notes. So how the hell does the E in the chord square away with the Eb in the scale? You need to think about melodic tendencies - where notes tend to go. Note the F#/Gb in the middle - it can be both. The reason why this stuff works is that the notes out of the scale are all blue notes. You won't catch Bach writing it, except for maybe his 21st kid (out of 20) PDQ Bach. (Actually, some people know why.) But you can do it, and it sounds good even though you probably think it shouldn't. So: when you're playing blues, you can play major blues with the minor blues scale over it. It jus' got to be the way you wan' it.īut that's not a very music-theoretical explanation. I'm talking out of my ass here, for the record, but you do whatever the fuck you want, so long as you think it sounds the way you want it to sound. None of this "this scale goes with this key" shit. Now, what you're "supposed" to do is music. That added note doesn't belong in the scale, but it's there because it's bluesy. ![]() The basis of the scale is the five notes of the pentatonic. ![]() It's just that when people play the blues they like to add more notes, and that #4/b5 in minor or #2/b3 in major is what we call a blue note. Second, the blues scale is the pentatonic scale. Minor blues is minor pentatonic with a #4/b5 and major blues is major pentatonic with a #2/b3. First of all, the blues scale is the pentatonic scale with an extra note. ![]() |