#1
i know this is an elementary question. but i want to get a lot of info on blues soloing. i mean, improvised or not. minor pentatonics, blues scale, hybrid scales, dorian mode? are there any scales that are cool to improvise with? thanks!
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#3
I mostly use minor blues pentatonics, some major pentatonics, and also Dorian. It's weird that you mentioned the same three.
It's also common to use "passing tones," ones that aren't actually in the scale, but they work if you can make them fit. I've also found that my moving the minor Pentatonic up a whole step you can get some cool tones. For example, if you were soloing in D minor Pentatonic, playing the E minor Pentatonic for just a phrase, or incorporating it into your D minor Pent. licks
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#4
Quote by joshnerez
i know this is an elementary question.
Not really, its a damn common question.
Quote by joshnerez
mean, improvised or not.
About 90% improvised and 10% vagually remembered licks that you can pull when you get uncreative.
Quote by joshnerez
minor pentatonics, blues scale, hybrid scales, dorian mode?
Minor pentatonics are the best for beginners in improvising. Especially in blues/jazz.
Quote by joshnerez
are there any scales that are cool to improvise with? thanks!
Pentatonics all the way. If you get bored of that ultra-consonant sound, you can use some out of scale notes. Try to experiment.
#6
half whole diminished can sound REALLY cool
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#7
Quote by gwitersnamps
half whole diminished can sound REALLY cool
We should get into altered dominant theory in a thread asking a basic theory question? I think not.


Learn the minor pentatonic scale all over the neck, but make sure you know that "home" position, such as the 5th fret "box" of the Am pentatonic or the 3rd fret box for the Gm Pentatonic, really well. I hate to say this, but it's more important, not to mention more used, than the other fingerings.


Then after that, you should learn the theory behind the major scale and from there, everything will start to make sense. That link in my sig is a great theory lesson and it takes you into fairly advanced material in a way that makes sense; however, you must read and understand a concept before you move on, else you won't understand something as simple as the relative minor, let alone modes of the melodic minor scale!
#8
thanks for the reply guys..

but whenever i solo, mainly everytime.. if theres a 7th chord.. i rely to the chord structure of the chord prog itself..

one vision got the idea.. i mean, is there anything that sound more bluesy? i want to try more out from scales. btw, yeahp! try mixolydian but im kinda adding up some passing tones.. if its done on a 7th chord prog, mixolydian works well though..

@ demonofthenight
its not the same as the common question.. it has complex understanding..
one vision got it anyways..

i was asking on what else can be done while soloing in blues; what sounds cool. i dont want to sound to technical if there are other hybrid scales used. never tried anything rather than bb kings hybrid blues scale. tnx..
" A mistake is just an unwanted result ."
#9
We should get into altered dominant theory in a thread asking a basic theory question? I think not.


TS was asking for scales to use in blues soloing. I gave him one. Lot's of people use that one. It has the blue note, major third for a jazzy sound, major sixth. In short, typical non scalar notes one would add to the minor pentatonic. Robben Ford uses this scale a lot, so why shouldn't people give it a shot?

TS: Look it up, play it, listen to it, see if you like it. Don't worry about the theory behind it now, just make it sound cool. That's the basic point to all of this.

I could tell him to use melodic minor starting on the minor sixth of your key when moving from the V to the IV, but I won't.
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#10
Quote by gwitersnamps
TS was asking for scales to use in blues soloing. I gave him one. Lot's of people use that one. It has the blue note, major third for a jazzy sound, major sixth. In short, typical non scalar notes one would add to the minor pentatonic. Robben Ford uses this scale a lot, so why shouldn't people give it a shot?

TS: Look it up, play it, listen to it, see if you like it. Don't worry about the theory behind it now, just make it sound cool. That's the basic point to all of this.

I could tell him to use melodic minor starting on the minor sixth of your key when moving from the V to the IV, but I won't.


wow, thanks man..this is very helpful.. you and one vision got the idea.. i was asking what to use on blues soloing not how to solo on blues.. hehehehe.. thanks man!
" A mistake is just an unwanted result ."
Last edited by joshnerez at Sep 11, 2008,
#11
In addition to what everyone else has said, I find that using a minor third and a major third usually works quite well for me. I usually put them together but neither is really a passing note because I tend to hold both for a long time.
#12
wow, thanks man..this is very helpful.. you and one vision got the idea.. i was asking what to use on blues soloing not how to solo on blues.. hehehehe.. thanks man!


No problem man.

In addition to what everyone else has said, I find that using a minor third and a major third usually works quite well for me. I usually put them together but neither is really a passing note because I tend to hold both for a long time.

Something I like doing (stole it from clapton, who stole it from someone else. . .) is bending the minor third up a quarter step. It's a cool little sexy sounding note.
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#15
I like to mix major, minor, and diminished licks in to hybrid licks. I've got my minor pentatonic licks and my majors, but when i throw in my hybrids it's a trademark of my blues playing.

on minor blues i use harmonic minor occasionally...at least that's what i think it is.

in the end, i play what sounds good
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#16
Quote by gwitersnamps

Something I like doing (stole it from clapton, who stole it from someone else. . .) is bending the minor third up a quarter step. It's a cool little sexy sounding note.


That is good. I was posting about the Sympathy for the Devil solo in another thread. The solo uses that same quarter bend.
#18
About 90% improvised and 10% vagually remembered licks that you can pull when you get uncreative.


I won't get into this statement for the sake of not highjacking the thread but I think you can guess I disagree.


As for blues, I think it's more in phrasing and using what you have creatively rather than playing a vast amount of scales. The problem can be that you'll just become a scale wanker, running up and down scales not making anything beautiful. Stick to something easy, if I'm playing Sweet Home Chicago, I don't bother using my knowledge about chord substitution and most to play over it, I just use the minor and major pentatonic scales. Why do I not bother? Because I want to use the least notes as possible to concentrate the most on making coherent phrases, using my ear to go towards the right notes to in the end make something beautiful.

Protip. I played along to Eric Clapton's Crossroad Festival DVD for ages. I'd just work out the key of the song by ear, try to get all the guitar parts down and then tried to solo along with them. Copy them, try to interact with them. It really works.
#19
I use i-iii-iv-v-vi-bvii-vii in a scale. The major seventh adds nicely to any minor pentatonic, but really shines in blues.
hue
#20
Quote by confusius
just work out the key of the song by ear, try to get all the guitar parts down and then tried to solo along with them. Copy them, try to interact with them. It really works.


this is what i always do. this which i recommend. this which is my best weapon. hehehe! i just want to goof around with some scales to widen my knowledges intervals and yeah, there might be some good scales to be used, and used correctly. phrasing! phrasing! phrasing!
" A mistake is just an unwanted result ."
#23
Quote by darth awsome
I generally use the chromatic scale. Why limit your self to 5 or 8 notes?


there are ways on expressing the pentatonic especially if delivered with a perfect phrasing. why do you think bb king is so toneful when he only presses 1 note?

i love chromatics but there are blues moods to consider too. so, i raised up this question, coz i know there are lot of things to be done and at least in a theoretical way. although im not all that. just to add the vocabulary.
" A mistake is just an unwanted result ."
#24
Quote by darth awsome
I generally use the chromatic scale. Why limit your self to 5 or 8 notes?


No one is "limiting themselves". The point of a scale is to provide an efficient means of establishing a relationship between a group of notes. A solo using the pentatonic scale will sound very different than the random use of all twelve notes in Western music.
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#25
Quote by Archeo Avis
No one is "limiting themselves". The point of a scale is to provide an efficient means of establishing a relationship between a group of notes. A solo using the pentatonic scale will sound very different than the random use of all twelve notes in Western music.


Yar. And you go outside (accidentals) the scale if you need/want to.
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hey d00d i herd u dont like shred u r a genius 4 thinkin dat. all shred is fukin lame wit no soul u no wat im sayin??
#26
Quote by joshnerez
i know this is an elementary question. but i want to get a lot of info on blues soloing. i mean, improvised or not. minor pentatonics, blues scale, hybrid scales, dorian mode? are there any scales that are cool to improvise with? thanks!

how about your heart and soul? bet you john lee hooker and muddy waters would tell you the same thing
#27
Quote by stringbender70
how about your heart and soul? bet you john lee hooker and muddy waters would tell you the same thing


Seeing as "soul" is not an inherent property of music and can't be magically transferred to the listener, I'm going to say that the notes you play are far more important.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#28
Quote by stringbender70
how about your heart and soul? bet you john lee hooker and muddy waters would tell you the same thing
But would that be a helpful answer? Nope.

You communicate what you feel in your heart and soul via note choice and phrasing. If you've done your job well, the type of people who you would expect to like your music will be able to interpret your notes and phrasing as your emotions, and if you're lucky, so will people who don't usually like that type of music.

There is no heart or soul scale. The feeling one gets by listening to a song is complete opinion. It is the opinion of many that the Am pentatonic scale sounds bluesy. It is fact that it contains the notes A C D E G and is often used in bluesy scenarios.
#29
Quote by bangoodcharlote

You communicate what you feel in your heart and soul via note choice and phrasing.


i totally agree. so, the feel is like the machine working, i have to get the "key" to get the machine working, which are notes.
" A mistake is just an unwanted result ."