Hot answers tagged

9

What you probably mean by minor and major blues scales are the two following scales (with root C): C Eb F Gb G Bb (minor blues) C D Eb E G A (major blues) These are just the minor and major pentatonic scales with one note added. The minor pentatonic scale gets a b5 (Gb), and the major pentatonic scale gets a b3 (Eb), both to make those pentatonic scales ...


9

Tim is correct that it's about the 3rd, 5th, and 7th, but I don't agree that in the blues they are flattened by exactly one semi-tone. That is an approximation when writing down the notes or when playing them on a piano, but on any instrument on which in-between notes can be played, these notes will be intonated differently. Especially the 3rd and the 7th ...


7

Blues is a language, with grammar and vocabulary. The difference between learning to play the blues and learning to play a blues is the same as the difference between learning to speak a language and learning just some words or phrases in that language. In the vocabulary instead of words you are using scales and chords. In the grammar instead of order of ...


5

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 ...


4

I don't have a scientific answer, but I guess you could say that blues isn't exactly an adrenaline-filled music. Punk,rock, metal etc are kinds of music that makes you feel hyped and alive. They are the kind of music that makes you want to be standing and jump or run or whatever. Blues (and Jazz) although, is the kind of laid back enjoyment. You sit on the ...


4

It's just a passing chord on the way to Gm7 from F. From Gm7 to E7 the D is common and the other notes are moving chromatically to get to Gm7. If you look at the notes each contain you'll see: F -> E -> F A -> G# -> G C -> B -> Bb C -> D -> D You'll notice the chromatic descending line in A to G and C to Bb and The F - E - F ...


4

First of all, Dm7 has no B but a C (as already pointed out in a comment by Tim): Dm7: D F A C The D minor pentatonic scale clearly fits over a Dm7 chord, because it contains all chord tones and it adds one note (the G), which is a cool-sounding tension on Dm7 (the 11). Note that the D minor pentatonic scale is not the only pentatonic scale you can play ...


3

If you are playing solo, start by realizing that you are now the full band and you need to adapt your playing like so. Think of the drummer and the bass player as "navigators" on a ship, guiding the rest of the group. So the drummer keeps time and makes fills anticipating when a period is ending and another one is beginning and the bass player plays passing ...


3

There are minor blues as well. They will use i iv and V (or i7 iv7 and V7 for 'real' blues). As you state, I(7) IV(7) and V(7) are more usual, but the same 12 bar format is often used for a possibly more miserable (!) blues. This, though, is not a standard 12 bar. The bridge goes to the relative major of iv, a common trick in minor blues. The V is usually ...


3

I thought that the flattened notes in Blues were the 3rd, 5th and 7th. However, they're traditionally taken to the next semitone down, as in C, E to Eb, G to Gb and B to Bb. That puts them squarely on the notes mentioned, rather than 'just a bit flat', which may be what's mentioned here. The same three notes are sometimes hinted at, particularly on ...


3

Instead of learning the "best" or "correct" fingering for every different scale, I think it's better to learn some general principles, and then work out the details for yourself. The repeated pattern of fingers is 1 2 3 1 2 3 4 - but not necessarily starting on 1, because .... Don't use your thumb on the black keys. With the right hand, use your thumb on ...


2

There's nothing wrong with using your little finger however the other 3 are much stronger and (especially as SRV used strings that were really fat) he may be more comfortable like that. I remember slash saying in an interview he often used only 3 fingers on give a bluesy sound to his solos. So I guess its just about comfort and preference.


2

There seem to be crossed wires here, with respect. Blues progressions basically use 3 chords, I, IV and V. True, often dominant 7ths, but that needn't muddy the water for now. There is a recognized order to the sequence. Actually, almost any notes can be (and are) used to create solos over these sequences. It's just that lots of the time, guitarists in ...


2

Yes. The last 4 are definitely a blues turnaround. Limited to I IV and V chords is consistent. In fact I can't seem to play it without making it bluesy. But I also agree with @herman's answer. The ear is the true judge. Since it is so short, it could even be just a phrase in a larger lyrical structure. If you play it in 2/4, with a Motown kinda beat... ...


2

There are many variations possible on the 8 bar blues, so this could certainly be one. I'd say it depends on the tune: does it sound bluesy?


2

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 ...


2

When you are playing solo, like Hooker is here, you can take great advantage of tempo rubato. It literally means "stolen time", and it's when you move faster or slower than normal in certain areas without completely abandoning a rhythm. It's very common for solo blues musician to play with this style, partly because they can, since they don't have to keep ...


2

A few points that I think need to be added, as they may well be the overwhelming factors in answering the "what's special about a Hammond." First, as compared to a pipe organ: Pipe organs do not "speak" quickly enough for most popular music. (That is, the initial attack of each note that is played takes too long.) Classical organists adjust their technique ...


2

It's #2: the BBF songs are all variations on some widely-used blues changes, and Guthrie used the same one. It's often called the "Five Chord Ragtime" progression because it's built around a five-chord sequence of fifths (I-VI7-II7-V7-I). Here it is in C: C---A7---D7-G7-C--- C---A7---D7---G7--- C---C7---F---Ab7--- C---A7---D7-G7-C--- Not only was it ...


2

A couple of additional notes that might help answer your question: The "blues scale" was developed to to play one set of notes over all the chords in a twelve bar blues, so the blues scale based on A minor pentatonic is played over a twelve bar blues starting on A7, even though the major third does not technically occur in the scale (this is why chords with ...


2

Been there. Done that. I'll try to describe what my experiences have been. I rarely got to practice a accompaniment; usually I'd step in at the last minute for a rehearsal or someone would want to sing and they would ask me to accompany. You've got a good start by knowing some theory (classical, jazz, etc. are useful.) That means you know the general ...


1

You need to know the chords for each song. The first two are basically 12-bar blues. "This Train" uses the same simple chords but in a slightly different order. Google the song name + "chords" to check them out. Now the hard bit. You really have to do these songs in the keys that best suit the voices. You mustn't make them stretch for notes that are too ...


1

I would say it's definitely a blues. The chord progression is a typical blues progression, as you say. The melody as well. It also has a typical "boogie" pattern in the left hand, and the typical blues "turnaround" (the last two bars of every chorus). Granted, it is not a 12 bar blues with the classic repeat of the first line (AAB form), but the 8 bar ...


1

Learn different two-handed voicings for the chords. Different inversions, different ways to voice the same chord. Pick up a copy of the "Piano Transcriptions" / "Piano comping" for one of the Jamey Aebersold play alongs. (Go to www.jazzbooks.com and in the search bar type those two search terms.) These are the note-for-note transcriptions of the piano ...


1

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 ...


1

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 ...


1

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 ...


1

This is indeed one variation of a standard blues cliché. The chords they play are | A A7/C# D7 D#dim7 | A Adim7 A7 | Note the chromatically ascending bass line in the first bar: A C# D D# which would often lead to an A7/E chord, i.e. the chromatic line would continue up to the E. The descending melody line you hear could be | A G F# F# | E Eb E | ...


1

Maybe because of the guitar? Classical guitarists always sit while playing, with the guitar resting on one leg. Many of the early blues players had a highly-developed technique -- very different from classical guitar technique but developed through many hours of practice nonetheless, most likely sitting down. (Think of Robert Johnson for instance.) ...


1

Bring me my shotgun by Lightnin' Hopkins is a blues song but is it really a 12 bar blues? Yes, it really is. If you want to write a blue song like this one should you really look at the 12 bar blues... That would make sense, seeing that they are the same. and its chord progressions? There's really only the one ;P But the style is still rad, ...



Only top voted, non community-wiki answers of a minimum length are eligible