Quote:
Originally Posted by hedzeppelin
Ok, I'm looking for some new licks.
If I'm playing a blues ditty in a major key (I, IV, V progression), I currently use the blues scale (pentatonic minor) and the pentatonic major (I) and when the chord changes to the IV, I can stay on the blues scale, and or play the IV pentatonic (major). Same deal when the chord changes to the V.
For example, Key of A:
I - A blues & A pentatonic
IV - A blues & A pentatonic and D pentatonic
V - A blues & A pentatonic and E pentatonic
Are there any other scales (besides the major scale) that I can use in this type of progression?
Thanks!
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Here is my take on the theory of it. If you played the major scales for A, D and E, the notes the you have in common between those scales make up a minor pentatonic. That's why you can play minor sounds against major chords. Technically you are really in 3 different keys and these are all the common tones. I don't want to confuse you though by talking about why this is. For your purposes, just know that this is the case.
If you try it, your ear will also find out soon enough that D and E minor pentatonics do not work (at least the minor ones).
Other things that work are to use those major sounds (because you can) mixed in with the minor. Hammering on the major third as Clapton did in the Crossroads solo is a good way to add spice. I also like the sound of the major pentatonic against the 4 chord (D in this case).
Also, there are other tones that do work. Dorian and Mixolydian modes have that flated 7th sound as well and can work in Blues. If you think like a jazz player and consider all the chord substitutions available, there are also other modes that work against certain chords.
I have some MP3s of lessons I did for my students that talk about soloing in the key of A using major and minor pentatonics, hammer ons, etc. If you want them, send me your e-mail address and I will e-mail them to you.
Mark