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I believe that the oft-cited analogy with learning a language is quite to the point. You need to learn (i.e., copy) words, phrases, and simple sentences, and after a lot of practice you will be able to form your own sentences and express what you want to convey. You can speed up that process from copying to self-expression by total immersion, i.e. by ...


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There's one major concept missing from this discussion: What are your ears hearing you play over this blues progression? When you play/practice this blues are you able to hear a melody or theme that you would like to be able to play from your instrument? If not, who do you listen to that would play what you want to hear? Understanding scales and their ...


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Two good references: Blues Scales: Essential Tools for Jazz Improvisation. by Dan Greenblatt Tony Monaco's online "Blues" video lessons. A very important thing for you to realize is: pick any scale (pentatonic or otherwise, blues or otherwise). As long as you create a logical, meaningful solo in that scale, it will work, and the scale doesn't have to ...


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As you've already found out, the A minor pentatonic scale - or, if you add the flat 5 = Eb, the A blues scale - fits all three chords. But your solos can indeed be made more interesting if you add more notes. You can use chord tones to spice up your solo and to incorporate the changes into your melodies. Below are the chord tones that are not already part ...


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Use the notes from A pent min. and A pent maj. while the progression is on A. You may even use the min. and maj. blues scale notes - one extra for each. These obviously work over D and E (you already use them!) but better to use the pents or blues of D over the D bars and E over the E bars. We have discussed similar in other answers. Basically there are ...



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