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The most important thing is to be able to know and see on your guitar the intervals between each scale tone and the root note. If you're able to do this then you're independent of the key and you don't necessarily need to know the name of the note that you play, as long as you know its relation to the root of the scale. So when you learn scale patterns make ...


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To answer the question of what an F blues is, it is a 12 bar form largely based on dominant 7 chords. F would be: one bar of F7, 1x Bb7, 2x F7. 2x Bb7, 2x F7, 1x Gm7, 1x C7, 1x F7, 1x C7. That is a basic form of the Jazz blues. There are many, many ways to augment that progression including substituting some of the chord for dominant 7s that lead up to the ...


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So an F blues refers to the song form over which you'll need to improvise. The good news is, if you know how to improvise on a blues scale, your work is largely done for you. There are infinite ways to improvise over a blues form, but one of the simplest ways that's also very effective is to use the blues scale. So in this case you would use the F minor ...


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I feel that the answers above are missing some important points. I've been a jazz musician for close to 20 years now, I started in my early teens, studying on weekends at a top conservatory, later went to music school for college, and have worked on and off as a professional musician since. That said, I will never forget the day, when I was 16, when it all ...


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Judging from the video you included, the method seems to be based on using the chord notes as the starting point of improvisation, rather than the more common, but too simplistic, approach of "use this scale on these chords". That is an excellent approach in my opinion. You can listen to a guitar lesson on improvisation (and other things) by Pat Metheny ...


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It seems we're having the same problem here, tapping into the well-fed musical inner ear we all have rather than being stuck in the over analytical and somewhat sterile frame of mind. My own toolbox for that : Ear training, especially on common melodies, or any melody that just won't leave, even if I have to wait a whole day before testing my solution on ...


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I'd memorize the relation of the roots to the tonic for analysis and overview. However, I find it more musical, if I have to try and verbalize, to remember the relation of a note and the current (and sometimes previous and/or next) root.



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