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Hi everyone! this is my first post here and hopefully some one can help me out. I am looking for a extended c minor pentatonic and/or blues tab or diagram I cant seem to find one anywhere, I have been jamming to backing tracks in C and my improvising all sounds too repetitive, I need to start making up new licks. Also I found this page --- http://www.freeguitarsource.com/Minor_Pentatonic_Scales/C_Minor_Pentatonic_Scale.html --which has the different shapes of the minor pentatonic scale I am wondering if anyone could confirm these are correct and are these ALL the shapes of the minor pentatonic? And finally I am wondering if any one knows a good website where I could find some videos with tabs on learning some licks in c minor pentatonic/blues. I know I asked 3 questions here lol but I hope some one could give me some guidance, thanks so much every one and thanks for reading this.
Last edited by merks7 at Sep 8, 2013,
Ok, I'm going to help you out. But you may not like the answer. I'm not going to give you diagram or tab. I'm going to tell you what the intervals of the pentatonic minor scale are. Ultimately, this will serve you much better in the long run than memorizing a diagram or tab every time you decide to learn a scale in a new key.

1, b3, 4, 5, & b7 -- which is C, Eb, F, G, & Bb in C minor.

If the concept of "intervals" makes no sense to you, then do the following lessons:
http://www.musictheory.net/lessons/30
http://www.musictheory.net/lessons/31
http://www.musictheory.net/lessons/32
http://www.musictheory.net/lessons/33

If you don't know where C, Eb, F, G, & Bb are on the fretboard, then learn to memorize the fretboard. This UG lesson should be helpful in that.
Last edited by crazysam23_Atax at Sep 8, 2013,
Quote by crazysam23_Atax
Ok, I'm going to help you out. But you may not like the answer. I'm not going to give you diagram or tab. I'm going to tell you what the intervals of the pentatonic minor scale are. Ultimately, this will serve you much better in the long run than memorizing a diagram or tab every time you decide to learn a scale in a new key.

1, b3, 4, 5, & b7 -- which is C, Eb, F, G, & Bb in C minor.

If the concept of "intervals" makes no sense to you, then do the following lessons:
http://www.musictheory.net/lessons/30
http://www.musictheory.net/lessons/31
http://www.musictheory.net/lessons/32
http://www.musictheory.net/lessons/33

If you don't know where C, Eb, F, G, & Bb are on the fretboard, then learn to memorize the fretboard. This UG lesson should be helpful in that.

I totally agree with this. I'm in AP Music Theory right now, and at the risk of sounding condescending, I can tell you if you ever want to be formally literate in music, knowing intervals is absolutely detrimental. If it helps, write down the intervals on flash cards and study that way. But regardless, learn them! You'll be able to construct a scale from scratch on any melodic instrument, not just guitar.
Good luck!
Quote by dalton.sala
I totally agree with this. I'm in AP Music Theory right now, and at the risk of sounding condescending, I can tell you if you ever want to be formally literate in music, knowing intervals is absolutely detrimental. If it helps, write down the intervals on flash cards and study that way. But regardless, learn them! You'll be able to construct a scale from scratch on any melodic instrument, not just guitar.
Good luck!

yeah agree wit both of them

pretty much the exact opposite of what you wanted it to ...i hope
^ apparently he's not in AP english

I personally don't see a problem with learning the shapes (learning interconnected diagonals might even be more useful than religiously learning the shapes). all these guys will tell you that you have to know all the notes and all that stuff, and while that's good as an ideal for the long term, i'd rather help you now.

I didn't look at that link you posted that closely, but I think it looked ok. And yeah that'd be all the shapes (unless you have a 24 fret neck, in which case you can just repeat the shape at the 8th fret (position 1)). Bear in mind you can interconnect shapes etc., stretch across shapes, do whatever you like, really.

youtube has a bunch of videos (of varying quality, from great to crap). whether they're in C, I dunno (I'm sure some would be). You can always transfer other keys to C though, those pentatonic shapes you listed are movable- slide everything up 2 frets to be playing in D, for example.

I would agree though that understanding intervals, and being able to work out the notes on the guitar (even if you don't know them instantaneously) will save you a lot of work. Being able to find the root lets you use movable chords (and even those movable scale shapes) etc. You don't necessarily need to know every note (at least now), and you can often get by by *either* knowing the intervals *or* the notes (when I'm playing a fast lead passage I'm thinking more in terms of intervals than notes... if I'm even thinking at all ), but if you're totally clueless about *all* the notes and *all* the intervals, then that's not going to be helpful.

I mean I'm no theoretician, I don't know all the notes on guitar instantaneously (though I can work them out given a few seconds), but there are definitely a few things which are very helpful to know (a little work now to save a lot of work later, kind of thing). Don't rush it, either, you run the risk of having it all half-learnt. You're better knowing the basics well and having a good foundation than half-knowing everything. That's another problem I have with this "LEARN ALL THE NOTES NOW!" approach- obviously it depends on what you're like, but if you ask me it runs the risk of giving you information overload, which is never a good thing, because it can put you off and make you quit, or mean that you never quite understand it properly.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at Sep 9, 2013,
My thought is i'f it's repetitive, its because you're only playing the same 5 notes over and over. Why wouldn't it repetitive?

Learn some other songs, build your repertoire. If you like blues, start learning note for note blues solos, and observe where they come from - connect it to your knowledge. In other words, build a vocabulary.

Best,

Sean
Quote by Dave_Mc
^ apparently he's not in AP english

I personally don't see a problem with learning the shapes (learning interconnected diagonals might even be more useful than religiously learning the shapes). all these guys will tell you that you have to know all the notes and all that stuff, and while that's good as an ideal for the long term, i'd rather help you now.

I won't disagree with this (despite my instinct to do so), but I would say that you really need to know the intervals involved. Whether you learn the shapes or not, you need to know 1) the intervals* themselves AND 2) what going from one interval to another sounds like. If you learn just the shapes without knowing the notes and the intervals, then it's like making a pizza crust and not doing the other stuff required to make a pizza.

*Note that intervals is a concept that will apply to numerous other parts of theory. For example, chord construction; knowing what chords fit and where (or at least what the rules are and therefore learning when you want to break said rules) is something that's key to blues or blues-influenced music.
If you want to make new licks then learn new sounds.
That comes from training your ear, and as everyone else said, learning intervals.
Quote by crazysam23_Atax
I won't disagree with this (despite my instinct to do so), but I would say that you really need to know the intervals involved. Whether you learn the shapes or not, you need to know 1) the intervals* themselves AND 2) what going from one interval to another sounds like. If you learn just the shapes without knowing the notes and the intervals, then it's like making a pizza crust and not doing the other stuff required to make a pizza.

*Note that intervals is a concept that will apply to numerous other parts of theory. For example, chord construction; knowing what chords fit and where (or at least what the rules are and therefore learning when you want to break said rules) is something that's key to blues or blues-influenced music.

oh yeah knowing the intervals is definitely helpful (as i said elsewhere in my post).

Even learning the shapes, if your ear is halfway good/trained, will often get you partway there, though. Eventually your ear will start to pick it up (probably).

I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Quote by Dave_Mc
Even learning the shapes, if your ear is halfway good/trained, will often get you partway there, though. Eventually your ear will start to pick it up (probably).

Yes, but how many new guitar players (excluding those who have previous experience with other instruments) have a decent/trained ear? It takes time for the ear to develop.
yep absolutely

at the same time you could use that very same argument against the "learn all the intervals/notes" philosophy, too, because that takes time as well (and could needlessly put people off).

there was a good quote in one of greg koch's books (which I read using amazon's "search inside" feature )- "Some frown on this visual approach, and certainly as you progress you'll want your hands to do your ears' bidding, but you have to stumble before you can run, and your eyes can do for you now what your ears will do for you later."

I agree with that. I'm not saying you shouldn't intend to learn this stuff eventually, because you should. Nor even that you shouldn't start to train your ear immediately, too- I know I often say that wanting to learn is half the battle won, and that's true, but if you can hear that you're wrong that's 90% of it won But I don't think you should necessarily jump in at the deep end, either, nor fixate/obsess over this stuff exclusively, either, which is what a lot of you guys seem to be suggesting. I mean, heck, I do have experience with other instruments before I played guitar, and some of the stuff you're suggesting sounds fairly advanced (not to mention, a lot of effort), even to me!
I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at Sep 12, 2013,
Playing the blues by only using the pentatonic minor blues scale is a misnomer. Check out Hendrix's Red House. He not only uses the minor pentatonic. He uses the major pentatonic as well. Uses other intervals too like the major sixth - you can go as far to say he is playing with the Dorian and Mixolydian modes. He does a lot of things like uses fragments of chord shapes, targets the notes of the chord progression. Those are the alphabets; but you can learn your words and phrases by listening to others, then you will make your own one day.
Quote by sweetdude3000
Playing the blues by only using the pentatonic minor blues scale is a misnomer. Check out Hendrix's Red House. He not only uses the minor pentatonic. He uses the major pentatonic as well. Uses other intervals too like the major sixth - you can go as far to say he is playing with the Dorian and Mixolydian modes. He does a lot of things like uses fragments of chord shapes, targets the notes of the chord progression. Those are the alphabets; but you can learn your words and phrases by listening to others, then you will make your own one day.

I wouldn't think them as separate scales. I would think them as accidentals. It's kind of stupid to think "now I'm playing dorian, now I'm switching to mixolydian". The only difference between those scales is one note - the third (minor vs major). It would be much easier to think in scale degrees.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
i dont understand why people have to think of scales. Its Blues! every note except the minor second is pretty regularly used, but even the minor second can be used and made sound awesome. If you have to think about a scale, think about the chromatic scale.

Its how and when you use them. To learn this, listen to blues for real.
^^ yeah. and in fact in a lot of blues you're bending the minor third a quarter tone sharp, so you're almost playing halfway between the dorian and mixolydian.

^ it can definitely help you to build it up, though (scales, i mean). I mean when i started out with blues, i pretty much just used minor pentatonic (often with the quarter-bent minor third, which I was doing before I realised what that was ). Then I figured out about the flat 5th. Then putting the major third in there too. And dorian and mixolydian a bit too.

But I agree that listening is the main thing, and that really you can use almost any note from the chromatic scale (and at least one from outside it)- but as you rightly said, you can't just use them randomly or it'll sound horrible. Use them right and it sounds awesome.
I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Quote by Ignore
i dont understand why people have to think of scales. Its Blues! every note except the minor second is pretty regularly used, but even the minor second can be used and made sound awesome.

Just before the I goes to the IV, treat the I as a V alt so the b9 and other tensions can be used here.
thanks so much for all the input everyone I really appreciate it! I understand I should learn all the notes and intervals but that's going to take a while for me, I started to hang out with my old singer again and I am trying to make up some new licks asap so we can jam again, also thanks a lot crazysam23_Atax for the links, but is there some one that could help me figure out an extended blues and/or minor pentatonic scale in C ? I am just trying to figure some stuff out fast, also do you guys think you could solo over this backing track in c minor blues/pentatonic? http://www.youtube.com/watch?v=y6O01G-JlAc hopefully some one else here will like this backing track too its pretty groovy, thanks every one!
C minor pentatonic works over anything C minor.

Yeah, C minor pentatonic would work well over that track. But just experiment. Maybe you'll like some other notes too. So try different things over it. But basically minor pentatonic is a really "safe" scale over anything minor. It won't sound wrong.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
^ yeah

^^ to extend the minor pentatonic scale shapes just link the different box shapes in that link you posted
I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Quote by Ignore
i dont understand why people have to think of scales. Its Blues! every note except the minor second is pretty regularly used, but even the minor second can be used and made sound awesome. If you have to think about a scale, think about the chromatic scale.

Its how and when you use them. To learn this, listen to blues for real.

If you listen to blues for real, you'll notice that they DO NOT just think about the chromatic scale, but rather actually use the pentatonic and blues scales more than anything else. You're not going to find to many examples of popular blues guitarist just playing random intervals.

and to help you understand why, playing in a specific scale, gives a specific sound. If you want one of those sounds you'll have to utilize the appropriate scale. Just seeing it all as the chromatic scale won't give you the same result.

and "minor 2nd" doesn't refer to a note, it's an interval between 2 notes, something that you find in scales. (for example a minor 2nd exists between the 4 & #4 or #4 and 5 in the minor blues scale). I would suggest that when you hear that interval in a blues context, it will often be in that context.
Last edited by GuitarMunky at Sep 15, 2013,
Quote by GuitarMunky
If you listen to blues for real, you'll notice that they DO NOT just think about the chromatic scale, but rather actually use the pentatonic and blues scales more than anything else. You're not going to find to many examples of popular blues guitarist just playing random intervals.

and to help you understand why, playing in a specific scale, gives a specific sound. If you want one of those sounds you'll have to utilize the appropriate scale. Just seeing it all as the chromatic scale won't give you the same result.

and "minor 2nd" doesn't refer to a note, it's an interval between 2 notes, something that you find in scales. (for example a minor 2nd exists between the 4 & #4 or #4 and 5 in the minor blues scale). I would suggest that when you hear that interval in a blues context, it will often be in that context.

He's talking about the minor 2nd scale degree, not the interval, ie if we are in E, it would be F.

And chromatic scale isn't random intervals. Most blues uses the chromatic scale, for example it uses both major and minor 3rds and diminished 5ths and stuff - that's pretty chromatic. Also a basic chromatic line used in blues is b7-7-1, sometimes 6-b7-7-1. Chromatics are used a lot in blues.

When I play the blues, I usually mostly base my playing on the blues scale and then add the other notes I need if I need them. Most of the time they are a major 3rd, a major 6th and a major 7th, sometimes a major 2nd (and I'm talking about scale degrees).
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Quote by MaggaraMarine
He's talking about the minor 2nd scale degree, not the interval, ie if we are in E, it would be F.

Then I would say it's hardly used at all in blues. (the b9 over the I7 chord)

not saying you can't do it. You can play whatever you like, but you won't find an abundance of examples of it by professional players. (if you want to argue about this look up the definition of abundance 1st)

Quote by MaggaraMarine

And chromatic scale isn't random intervals.

oh thanks for telling me that, I had no idea

Quote by MaggaraMarine

Most blues uses the chromatic scale,

No sir. You'll hear chromatics but generally in the context of a pentatonic or blues scale.

Quote by MaggaraMarine

for example it uses both major and minor 3rds and diminished 5ths and stuff - that's pretty chromatic.
That's mixing Major and minor pentatonic/blues scales, which is different than using the chromatic scale.

Quote by MaggaraMarine

Also a basic chromatic line used in blues is b7-7-1, sometimes 6-b7-7-1. Chromatics are used a lot in blues.

that's chromatically connecting notes of the minor pentatonic, and Major pentatonic scales.

Quote by MaggaraMarine

When I play the blues, I usually mostly base my playing on the blues scale and then add the other notes I need if I need them. Most of the time they are a major 3rd, a major 6th and a major 7th, sometimes a major 2nd (and I'm talking about scale degrees).
yeah, those notes are all in the Major pentatonic/blues scales (with the exception of the Major 7th which I'd assume you only use as a passing tone over a dominant 7th chord)
Last edited by GuitarMunky at Sep 15, 2013,
Quote by GuitarMunky
Then I would say it's hardly used at all in blues. (the b9 over the I7 chord)

not saying you can't do it. You can play whatever you like, but you won't find an abundance of examples of it by professional players. (if you want to argue about this look up the definition of abundance 1st)

oh thanks for telling me that, I had no idea

No sir. You'll hear chromatics but generally in the context of a pentatonic or blues scale.

That's mixing Major and minor pentatonic/blues scales, which is different than using the chromatic scale.

that's chromatically connecting notes of the minor pentatonic, and Major pentatonic scales.

yeah, those notes are all in the Major pentatonic/blues scales (with the exception of the Major 7th which I'd assume you only use as a passing tone over a dominant 7th chord)

But the way I'm thinking isn't mixing the major and minor pentatonics. It's more like mixing chromatic notes to minor pentatonic. Minor pentatonic is the basic thing and then I add some chromatic notes. I'm still kind of mostly emphasizing the minor pentatonic notes. But I think in scale degrees, not in minor and major pentatonics - I don't think them as separate scales.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Well it's a myth that only jazz players follow the changes. So if you follow the changes like any half decent player then you won't have to think in scales and your ear will tell your fingers where to go cuz they'll know what a guide tone, chord tone or extension will sound like.

Said to everyone and anyone.

This thread can be closed now.
Quote by MaggaraMarine
But the way I'm thinking isn't mixing the major and minor pentatonics. It's more like mixing chromatic notes to minor pentatonic. Minor pentatonic is the basic thing and then I add some chromatic notes.

it's the same thing, whether you choose to recognize the connection to Major pentatonic or not.

Quote by MaggaraMarine

But I think in scale degrees, not in minor and major pentatonics - I don't think them as separate scales.

You can think about it how you want, but it doesn't change the fact that most blues players (and probably most players outside of this particular forum) use the pentatonic and blues scales with acknowledgment.

This idea that everything is just 1 scale (chromatic) and that no other scales are relevant or important, is silly at best.

Quote by mdc
Well it's a myth that only jazz players follow the changes. So if you follow the changes like any half decent player then you won't have to think in scales and your ear will tell your fingers where to go cuz they'll know what a guide tone, chord tone or extension will sound like.

Said to everyone and anyone.

This thread can be closed now.

myths aside, following changes doesn't exclude the use of scales. scales / chords... that stuffs all related.
Last edited by GuitarMunky at Sep 15, 2013,
Quote by GuitarMunky
myths aside, following changes doesn't exclude the use of scales. scales / chords... that stuffs all related.

Assume we have the below:

Where should I decide to switch from the major pentatonic to the minor pentatonic?

Yes, it's a trick question.
Last edited by crazysam23_Atax at Sep 15, 2013,
Quote by crazysam23_Atax

Assume we have the below:

Where should I decide to switch from the major pentatonic to the minor pentatonic?

Yes, it's a trick question.

There is no correct answer here, as there are so many different ways you could play through that. If you have a point that you think disproves what you quoted out of my statement, just say it.
Quote by GuitarMunky
There is no correct answer here, as there are so many different ways you could play through that. If you have a point that you think disproves what you quoted out of my statement, just say it.

The easiest way to play the above progression is to use the F major pentatonic scale and add in chromatics (or chord tones) as needed. There is absolutely no reason to switch scales to F minor pentatonic at any point.
You don't change scales based on what chord you're currently on in the progression, unless you encounter a key change.
Last edited by crazysam23_Atax at Sep 15, 2013,
Quote by crazysam23_Atax
The easiest way to play the above progression is to use the F major pentatonic scale and add in chromatics (or chord tones) as needed. There is absolutely no reason to switch scales to F minor pentatonic at any point.
You don't change scales based on what chord you're currently on in the progression, unless you encounter a key change.

Well, the reason a person would choose to change scales is to utilize the color the chosen scale brings.

whether you choose to recognize/admit it or not, the truth is those notes that you refer to as being "chromatic", are often actually part of a scale, and if the player includes any passings tones, they will in many cases follow those scales. Take a listen to some Basie since you brought it up.
Quote by GuitarMunky
Well, the reason a person would choose to change scales is to utilize the color the chosen scale brings.

whether you choose to recognize/admit it or not, the truth is those notes that you refer to as being "chromatic", are often actually part of a scale, and if the player includes any passings tones, they will in many cases follow those scales. Take a listen to some Basie since you brought it up.

Regardless of the notes played, the "main" scale would still be the F major pentatonic. Also, it's easier to think of using chromatics than to make a conscious decision to change scales.
Quote my post then copy and paste the link. Tis apt for this thread.

Bye.
Come on guys who can give me a extended pentatonic/blues scale in c !!??
Not only that, it's apt for all Americans in general. So basically the majority of this whole ****ing community.
Quote by merks7
Come on guys who can give me a extended pentatonic/blues scale in c !!??

p.s thanks so much for all the responses!
Quote by merks7
Come on guys who can give me a extended pentatonic/blues scale in c !!??

here you go.... key of G though, just move everything up a 4th to C

Major Pentatonic scale in 5 patterns
Quote by crazysam23_Atax
Regardless of the notes played, the "main" scale would still be the F major pentatonic.

that's your opinion, but unfortunately it's not correct.

The Key is F, but for soloists, which scale to use is largely a matter of choice. If you were to listen to some examples of seasoned players soloing over it (such as Basie himself), you would hear a variety of scales being used.

Quote by crazysam23_Atax

Also, it's easier to think of using chromatics than to make a conscious decision to change scales.

misunderstanding never makes things easier.
Last edited by GuitarMunky at Sep 15, 2013,
^ The thing is, you don't need to think them as separate scales used. All notes belong to some scale. But if you add some chromatic notes, I wouldn't say you are changing scales. For example if I play a lick that goes b3-3-1, I wouldn't think the major and minor thirds belonging to separate scales, I would just think them as chromatic notes. You can think in scale degrees and ignore the changing scales. For example as I said, I would use the minor pentatonic as my main scale and add notes to it. I wouldn't switch scales.

I'm not saying you should ignore all scales of course.

And what's wrong about thinking in chromatics? Because it really is using chromatics. You can use them as passing notes but they are still chromatics.

Edit: Your thinking isn't wrong but neither is mine or crazysam's. If changing scales makes you play better, do it. But I don't see a point in thinking it that way.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Last edited by MaggaraMarine at Sep 16, 2013,
Quote by MaggaraMarine
^ If changing scales makes you play better, do it. But I don't see a point in thinking it that way.

It's a matter of describing things accurately. There are alot of ways "chromatic" tones can be used in a piece. You might connect diatonic notes chromatically, or you might be dealing with secondary relationships and borrowed chords, in which case saying that they're just "chromatic", is too vague. With some more specificity you can really dial in the sound of those changes, both as a listener and player. As an arguer you'll just have to rely on semantics. They always do.
Last edited by GuitarMunky at Sep 16, 2013,