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Discussion in 'Tab, Tips, Theory and Technique' started by CrashandBurn, May 6, 2019.
Bless you, kbold.
I keep a copy of this chart around the studio,
it helps in 2 ways
1) it lays out the notes for the major scales ( Doe ,Ray,Me....etc)
2) I use it to quickly glance at if some says I want to play a I-IV-V in the key of F# ,I know its F#, B, C# now it may be any variant of those chords ( Maj , Min, diminished etc) But I know where to come from and where I'm going
MOST chords follow the 1st note, 3rd note, 5th note, 7 th note 9th note ( into the higher octave, 13th note as well) this maybe in any varient of the major scale
Example a Min chord will have 1-b3-5 note of the scale ( the details of whiich are a little more than the scope of this thread
Modes are scales built off of the major scales
example C major scale 2 octave
now if you run this C to C (Doe ,Ray, Me.....2 octaves )
now run the same scale D to D 2 octaves it sounds very much different ( Ray to Ray 2 octaves)
Now run the same scale E to E 2 octaves again very much different ( Me to Me )
continue this and you will have Modes Each mode has a fancy name yet it is all still the c maj scale
and that is why scales are important, they are structure that note order and chord chemistry are founded ( of course there is more to this but this the raw basics )
I hope I did not confuse you
Larry F is a professor of music here on site and his knowledge way more advanced than mine on this matter
I think the b5 works perfectly well with the major pent, in fact mixing up major and minor pants together sounds great.
The A major pent and A minor pent plus the b5 gives us 9 of the 12 available tones
A B B C# D Eb E F# G - A
The 9 tone blues scale works best for me because I can play strictly minor pent or major pent.
Then there are the other blues ready pants that are found in those 9 notes,
B minor pent B D E F# A
E minor pent E G A B D
F# minor pent F# A B C# E
That gives us five different pents that can be played over A7 in A7 blues,
A minor pent
A major pent
B minor pent
E minor pent
F# minor pent
There is one thing that could confuse a die hard blues player,,, the B, E, and F# minor pants will make you sound like Larry Carlton and Steeley Dan, if you know how to use them.
Oh, and throw that b5 on everything. It's the rebel tone.
The blues is not diatonic. Mixolydian is not a favored scale for blues. The blues language centers around the major pent and the minor pent, plus the pesky b5.
Mixolydian is fine to play but once you bend a note it is no longer Mixo. When you play Black Dog by LZ, the sixth note in the riff is bent up 1/4 tone. Now if we want to keep terminology correct that bent note doesn't belong to any diatonic scale but it is huge in blues playing.
The blues pitches sound terrible against a straight up diatonic song. Play She'll Be Coming 'Round The Mountain in G and play G minor pent for the solo, it sucks, why?
Here is a common Clapton mixing of major and minor pents.
The min3rd, maj3rd, 6th, and b7th are highlighted. The root and 5th are not.
When major and minor pants are mixed you get the chromatic notes highlighted. Those notes made Clapton very rich.
Is this mixolydian playing or pent playing?
It’s like martial arts in a way. Traditional martial arts aren’t a step-by-step guide to how to win a fight. It’s building the muscle memory so that I’m the event you’re in a fight, your body and mind are better prepared to react in a beneficial manner. Same with scales and modes. It’s showing you everything you “can” do in a given setting, and by building the muscle memory through practice it allows you to play in various situations and scenarios without having to stress/think too hard about what fits where.
The pentatonic scale is wildly applicable to many styles and forms of music because it basically packs in all the essentials, the meat/potatoes that most music will need. You can play the pentatonic scale along with any western music and it’s going to sound right, so long as it’s the right key. You start getting into the modes of the major scale and it starts getting more “ethnic” it adds different spices and flavors that the meat and potatoes don’t offer. So if you’re a jazz fusion guy or a progressive rock/metal player the pentatonic scale is probably going to seem bland and lacking.
At the same time, blues rock is traditionally pentatonic land, but Duane Allman and a handful of other guys managed to raise the bar by incorporating modal playing into music that was literally built around the meat and potatoes of the pentatonic scale. And we’re all the better for it.
Also, by practicing different scales and modes, you can more readily hear them in others playing, which can, in time help you hone your ear and learn/create things based around ideas you get from music that inspires you. If you can hear something in your head, but don’t have the tools to put it to your fingers, it can take a long frustrating time to reinvent the wheel.
All that said, pretty much the only scale I know well enough to work with at all is the pentatonic scale.
You can't come around my cats!!!
Good point about roadmaps, the fretboard is a map as well, with a vertical and horizontal nature.