Three Pentatonic Scales to use over a 12-Bar Blues!
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- Опубліковано 21 вер 2024
- In this mini-lesson, I'll show you three different pentatonic scales you can use over a 12-bar blues progression to highlight the sound of the chord changes.
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You did this in a short more effectively than many other longer videos from other people
INSTANT FAN OF THIS MAN.
Thanks!
Great lesson. Can't wait for the masterclass next week!
This is fantastic! Thank you
Thank you and you’re welcome!
That’s so smooth!
Great Lesson 👏🏾👏🏾👏🏾
Thank you!
I just can’t wrap my head around switching between the major and minor but I feel like when I do I’m gonna soar 🙌
I’m really sorry if this makes me seem like a patronising idiot, maybe you don’t know this, maybe you do, but it’s something I only wrapped my head around recently so I wanna share just in case. If you know all this, or if this is just a long read, hopefully someone else gets something out of it?
There’s a few good ways of figuring it out. One is focussing on notes from the major and minor chords, so you know how to switch from a major chord to a minor chord, you add the major third instead of the minor third. Now add the major third to your minor pentatonic.
The way I like most is the CAGED way. You can play in G major in the 1st E minor pentatonic position, using the same notes but focussing/ starting on different root notes. Switching between the G major chord and the G minor pentatonic is how you’d mix. By knowing how to play in both, including the ‘house of blues’ boxes, you can imbellish your pentatonics with notes from the other scales. Example, the box in the G shape pentatonic takes you up to the location of G minor E shape pentatonic. If you play a doublestop on the E and B string, that’s the same as starting your G minor blues riff right?
So, when playing G minor, add notes from G major by adding the major third, or the major 2nd, or the major 6th, which are all in that box, but you can also bend the notes of the G minor blues box up on the B and E string to hit those major notes, or dance around them.
Dflat pentatonic is the reverse of E major pentatonic. It’s three frets down from E minor pentatonic. You just have to adjust to where your new root notes are.
Same for F# and A, Aflat and B, etc etc. If you know CAGED, that helps remember, but really you can figure it out just by playing it. Now once you know how the G shape is the major of the E shape, you also know that the C shape is the major of the A shape, and so on.
Here’s where it gets fun.
You can land on or pass through notes from the G shape scale during your E shape scale. That means you can easily switch between major and minor tones just by recognising the F shape behind the D shape, the C shape behind the A shape and the G shape behind the C shape. This means you have every note you need between and around the shapes, and by changing what positions you’re playing those notes in and focussing on (ie you can play the major pent and add minor notes), you give yourself a lot of really good options for switching.
Now what’s even crazier is you can reverse it so you just play an A minor shape and then the A minor shape is the C major shape and so on. So major and minor chords become interchangeable just by moving three frets up and down. This is where you see how it all becomes seamless and totally customisable.
Add in all your techniques from pulloffs and hammer-ons to vibrato to doublestops etc and you’ll start to realise you’ve already been flirting with borrowing notes from different scales, any time you did a half-note bend you were doing exactly that.
So, the same bend you do on the G string in the E shape, you can do in the G shape, and you’ll have the symmetry you need to connect the dots and seamlessly switch between. Chromatically moving through major and minor is another good way, since you can play 2,flat3,3, and 4 right next to eachother.
Now that you know what the options are, you can just play around and find what works. I like playing in D flat’s G shape E major pentatonic, using the open E A and D strings to give it a really strong tonality, just remembering where the chord tones are to move through the changes. Smashing Pumpkins get a lot out of that.
If you learn triads and doublestops really well that really helps with practicing. Also learning the pentatonics diagonally, at least a little bit. I’ve only just gotten to grips with combining all this crap together, it really comes down to playing until you know that if you hit that note you’ll get that sound relative to that sound. Put the major notes into chords, and into pentatonics, combine the two and you’ve got a really strong baseline to be able to flit back and fourth.
Don’t forget you can also do all this on one string, if it’s all new to you (whoever ends up reading and needing this). Every note is an option, it just needs the right context. Learn both the major and minor scale on one or two strings, and connect the dots. Once you do that, the last hurdle really is learning it in all the shapes, and that just comes from learning your chords really well.
Now that I know this shit, i’m way better at trying to play blues. My Les Paul wants Clapton, it’s got me. Least I could do is give it my best Clapton impression.
Nice
Great lesson boss!!
Thanks!
Play, all to start on just the DG strings, frets 5-6 for A7’s tritone (b7-3), move down to 4-5 for D7’s tritone (3-b7), and move to 6-7 for E7’s tritone (3-b7).
Because the tritone (#4 or b5) remains the same when inverted, A7’s tritones on EADGBE are 345689. Easy to use to play Blues!
Who listens to Robin Ford?
🙋♂️
Great channel. Subbed.
Thanks!
Certainly a useful lesson, but that one bend over the Bm pentatonic hits my ears as a bit flat.
Bm did not work for me over E7. Dom 9th pentatonic is much more versatile over E7 and other ones especially if mixed with minor 3rd.
Jamey is too smart for me
For most of us.
Oh I wanna try this! 🔥
A key take away is that many of these notes overlap which is why they work. Scales are not absolute. They are but frameworks. The theory can go deep but that is the main idea. If it sounds good- do it. I mix up scales and position until my ear tells me what it likes...then I do more of that. There are no real rules in music. Do what sounds and feels right. Scales are over rated. Chasing tones and understanding intervals and triads is far more interesting.
Jamey makes it look easy- to play at his level is not easy. Very talented and smart dude. Thanks for sharing your wisdom.
I totally agree. Scales just provide an alphabet to make phrases and those phrases are all different colors on your palette to convey the feeling you’re after.
Also, thanks for the nice words!
@@JameyArentThank you Sir.