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Guide Blues in D Major

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Step 2: While soloing within your primary scalar framework, try to target both the minor 3rds and major 3rds of each underlying chord. Any suggestions in degree format, on the Hybrid Scales? Leave a Reply Cancel reply. Your email address will not be published. Access all Free Lessons:. James Sep 14, Reply Link. John Sep 13, Donn Goodside Sep 13, Brian Kelly Sep 13, Hey, I just emailed you. What you are talking about here will be the topic of my next lesson! Blues ballad, maybe? So, still searching for the elusive blues in E minor.

My life is complete.

12 Bar Blues Backing Track In D Major

I can enjoy Christmas secure in the knowledge that here is a playlist that has a blues in every major and minor key. Adrian Clark nailed Riders on the Storm — the elusive E minor blues. A big Christmas thanks to everyone who came up with tunes and anyone else who even thought about it. How idiotic can I be? Anyway, enough self-flagellation. I will not rest until I have the minor blues in Ab on this list. Even an A minor blues by some de-tuning blues ruffian would suffice…. The circle is complete! And it is cause for a party.

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Share the playlist far and wide with your musical friends. You can also use it to outline entire keys such as playing an F minor blues scale over a blues in F chord progression , as well as a number of individual chords as listed above. Here are the 5 common fingerings for this scale on the fretboard of the guitar, presented here in the key of F.

Work on each shape slowly with a metronome in multiple keys across the neck as you memorize each shape and get the sound of this scale into your ears, as well as each shape under your fingers.


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After you have worked out one of these patterns, try putting on an F7 backing track and solo over that chord using one of these minor blues scale fingerings as the basis for your lines. You can then take this exercise to other 7th chords in your practice routine in order to ensure that you learn these fingerings from a technical standpoint, but in an improvisational context as well.

HOHNER Blues Harp D-major

To help you take this scale from the technical side of your practice routine to the improvisational, here are 8 classic sounding blues scale licks that you can work on in 12 keys. To finish our intro to the minor blues scale, here is a sample solo over an F blues. You can use the F minor blues scale over the entire blues chord changes.


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  • Learn jazz blues guitar step-by-step , download our ebook Introduction to Jazz Blues Guitar. Just as its minor sibling, the major blues scale is an important melodic device that you can use to solo in many different musical situations and genres. As you can see below, the major scale has 7 notes.

    The major pentatonic scale is made up of five of those notes 1, 2, 3, 5, and 6 of the major scale.

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    To produce a major blues scale, you simply take the major pentatonic scale and add in a blue note , the b3 of the key. Here is a sample two-octave fingering for the G major blues scale. Get it under your fingers so that you can begin to visualize this scale on the fretboard, and hear how it sounds on your guitar. The major blues scale works over both major 7 and dominant 7 based chords. This is because there is a major triad in the scale, but no 7th.

    The main difference between the use of major and minor blues scales is that as the chords change in a blues or other standard form, you have to change scales along with them. So, make sure that you differentiate the major from the minor blues scales in your practicing so that they are distinct and easy to move between when you apply them to your jazz guitar solos.

    There are 5 main fingerings for the major blues scale. Here are the scale diagrams for a G major blues scale. To help you get started with the major blues scale, and learn how to apply it to soloing situations, here are a few sample licks that you can learn, work in 12 keys, and use as the basis for your own lines. To really get this lick into the swing style, try and accent the first and last note play them louder of the lick. This will bring an emphasis to the outer notes of the lick, and add an extra layer of rhythmic interest to the line itself.

    This allows you to build energy in your solo, as well as use a repeated lick without it sounding boring. Then, play the first 8 bars as written and improvise the last 4 bars. From there, play the first 4 bars as written, and improvise the last 8 bars, before moving on to a fully improvised solo after that. This kind of transitional exercise is a great way to learn vocabulary, and integrate it into your playing at the same time. The blues scale is used in bars 1 to 3, and in the bridge. In other places it is mixed with chromatic notes and arpeggios.

    Here are some typical Joe Pass phrases over a blues in G in which he combines minor and major blues scales. Backing Track. How do you use the blues scale in your jazz solos?

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    Let us know in the comments below…. Hi my sincere congratulations for your website. It is a very useful tool for musicians who wAnts to learn about the jazz world theory and practicing elements. I am very satisfied with the content you show here. It is very clear and the music sheets and pay along backing tracks and your track recordings of each song make very understandable each topic. Thumbs up for your well done job. Cesar Coronel. Hey Dirk, i was wondering when you were going to update your newsletter as I thought it had so much to offer the musician.

    12 Bar Blues Backing Tracks In D: Fast, Medium & Slow Tempos

    Your videos were specific to the needs of the guitarist and there are not many Jazz sites that give lessons as good as yours. Very informative. You guys offer such a fine uncluttered medium to learn jazz guitar, and the music history of jazz pioneers. Especially for those of us that are new to playing jazz. This tune is basis enough to not be over-bearing, thus learning it will be pleasurable.

    Thanks guys. Very nice!! I will probably start to work on it tomorrow. Jazzy blues is very nice.

    Or an on-going line? Thanks for the great Melodic and Harmonic concepts that you share, plus the inspiration and motivation which is the essence of teaching. Please keep it coming. Your friend Gene Pierce.