Outlining The Chords Of The Blues Without Changing The Pentatonic Scale
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- Опубліковано 10 січ 2023
- As I often like to say, the pentatonic/blues scale is never wrong, when you solo over a blues...
But you can be right-er, at certain times.
In this video, you'll see how one certain note out of the pattern can emphasize each new chord better than all the rest...
By using that one note as your anchor, and returning to it regularly, you can effectively outline the chord changes, and play through them, without having to change your scales or patterns.
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Hope you dig the video! - Розваги
I've learned so many things about approaching solos these past 3 years, I owe you a debt of gratitude, thank you
Nice avatar
Really cool little revelation. What I got out of it is that every note in a scale has a certain 'weight.' It was really made apparent when you compared the notes over your loop. I'll be adding that understanding of weight into my solos going forward. Thanks Griff.
Thanks for being so unselfish in sharing your knowledge!
You are by far one of the best teachers on UA-cam. I learn something significant to my playing every video. Thank- you so much!!!!
Good stuff! I’ve never seen it broken down this way before.
I like how you used the G against the 5. I didn't realize that would work, but it sounds great.
Nice video. Personally, I have come to the conclusion that all I need to know is the root location instead of patterns. Then applying your lesson, I will concentrate on the flatted 3rd on the I chord; the 4th on the IV chord and the flatted 7th on the V chord. In this respect what has been my epiphany is knowing the relationship of the intervals in relation to the root on the fret board at any location. Thanks.
9:59 That‘s such a great advice! Thank you for this explanation right to the point - I struggled many years with music theory to solve the „blues sound secrets“ - now I feel delighted! I just kinda know what to play over the I chord and then always got lost when it comes to the IV and V chord. I picked the chord notes but it does‘nt sound bluesy at all…
Wow! You just created a total moment for me!
I love your nuts-and-bolts, actionable blues lessons. IMO, best blues guitar instructor on the web.
Thank you so much for these lessons, Griff. A year ago I was not ready for these as a new guitar player. I am now and I appreciate how you decompose what’s going on here.
Brilliant lesson. Straight to the point. Great explanation of what all the blues greats do.
Excellent video!!!!!
Good video lesson, thx Griff
Thanks for sharing! Really appreciate your video’s.
Thanks for sharing this...
great lesson....
Great thanks ,real Peter green feel here
Light bulb video. Thanks Griff!!
How come you don't target the E for the 5th chord ?
Where did you get that shirt?
👍🏻👍🏻
I bought the slow blues blueprint 4 days ago and now I get an email saying if I buy it I’ll get the shuffle feel for free. I’m angry 😡!
Reminds me of a BB king tune.
Griff was in the BB box.
BLUES GUITAR UNLEASED, when you Outline the Chord tones for either the iv or IV or v or V chord tones those chord tones aren't going to be in the minor pentatonic scale. When you add in the chords tones of the IV chord and V chord, the minor pentatonic scale is converted to what scale?
I think you might be misunderstanding, while it is true that chord tones might come from outside the scale, that doesn't necessarily create a new scale... at least, not one with a common name. But in this case, you're always using notes from the pentatonic scale, just picking the best choice for each chord.
I was on the same point and was close to loose my mind - than (thanks to Griff) I had to face the truth: You can‘t explain the blues with common music theory - there is no scale with 3 7th chords (on the position I IV and V) and so there is no scale, that covers all the notes of these three chords! Nevertheless you have to play a note (the b3) against the right note of the chord (the 3) to sound „bluesy“ - that‘s weird but blues is a kind of musical art for itself. Thanks to Griff, for his explanations to the point!
at 6:07, you indicate that a flatted 5th against a chord that has a perfect 5th is going to sound bizarre unlike a flatted 3rd played against a chord with a major 3rd which is almost the essence of the blues. But isn't the flatted 5th the blues note - i.e., the note that transforms the minor pentatonic scale into the blues scale?
The blue note is a passing tone. If you were to land on it it would sound bizarre but as a passing tone is very bluesy
So basically you are picturing and targeting the current chords’ chord tones (triads) in that caged box area you are noodling the scale. 👍
Why as a soloist it is important to always know what chord shapes you’d play in that same area of the fretboard if you were the rhythm guy. 1-4-5 progressions are common and easy. In the “house of blues” area you were in it would be D G and A chord (minor triad) shapes, respectively. Knowing your triad shapes tells you which are the 1,3,5 tones.
You're bending that C a little to make it sound better. If you play it without bending it a little it doesn't sound as good.