tl;dw: When playing blues in the key of F, over the I chord you play in the F minor pentatonic scale.

Then over the IV chord you move the F minor pentatonic down three frets (so it's as if you're now playing the D minor pentatonic scale) ONLY you flatten the A notes to G#'s.

Then over the V chord you play as if you're playing an F minor pentatonic scale ONLY you flatten the F notes to E's.

And it makes you sound jazzy.

Can someone explain the theory behind this to me? Why does it work?
When playing in the key of F, you play notes in the key of F
(all 12 notes are in the key of F)
Quote by WhiskeyFace
No shit, but why do those notes work over those chords and why do they sound particularly jazzy over those chords.

Every note works over every chord. This idea that something sounds "jazzy" is just a way for him to say it sounds unconventional.
A better way to approach this is to learn how all 12 notes sound over the chords in a progression. Really imbed them into your mind. Then you can play any sound you want, and not have to think about these scale shapes or anything.
Over the F you are playing the F minor penatonic scale.

Over the Bb you are playing the F major scale.

Over the C you are playing both.
And no, Guitar Hero will not help. Even on expert. Really.
it works becuase he's just using tone center.Sort of like axis pitch system.
It's the samething you can do when playing a harmonic minor in stead of aeolian.
The 1 note that you weaked out of place.

Sometime instead of playing it exaclty like that...Im playing the -2 or the 7
around the center of the root note. Im stressing the heck out of the -2.
Sometimes I dont even play the root note.

Plus you have diffrent tone center.
A simple example of that is the power chord or 5 chord.
It can also be a sus4.

look up blues scale variant 4....
It has a 1, 3, 4,- 5,5,-6. some seem out of place...but if you hit them a certain way.
they sound jazzy.

Like mac say...there's 12 pitch. They all work. you just gatta get use to using them
Last edited by smc818 at Jan 15, 2014,