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The Blues Scale

Lesson 2/67 | Study Time: 5 Min
The Blues Scale

The Blues Scale

The Blues scale consists of I bIIIIV V bVII** notes of the major scale. Thus the A Blues scale is derived:

These notes can be arranged into patterns for simplification of learning and playing. The most common of these patterns is called pattern 1, which is outlined here:

This pattern is used by every Rock lead guitarist and you should memorize it and practice it every day.

Pattern one can be used for improvising against the Blues progression in the key of A. Record yourself playing a 12 bar in A, using any rhythm you like. Now play through pattern one (playing one note per beat) and observe how the notes blend in with the 12 bar chords. Notice that any note from pattern one can be played against any chord in the progression.

This Blues pattern can be used to improvise against any Blues pattern in the key of A. The Blues scale can also include the flattened 5th note ( bV ).

* bIII indicates that the 3rd note of the scale is flattened.
** bVII indicates that the 7th note of the scale is flattened.

Triplets

Now that you know what notes to play, you have to learn how to play them. This will involve learning, amongst other things, various techniques that all lead guitarists use. One of the most common of these techniques is the use of triplets, which can be defined as three evenly spaced notes played in one beat (indicated thus *). They should be played with an accent on the first of each three (i.e., accent each note that falls on the beat, creating a "waltz" feel.

Blues Scale - Triplets

(To be played against the 12 Bar Blues progression). Each note of pattern one can be numbered as such:

Triplets can be played in the following order.

Be sure to follow the correct pick motion (alternate picking) and count 1+a,2+a,3+a,4+a, accenting the first note of each three (indicated by the arrowhead >).

Also play the major scale using triplets.

To conclude this lesson, try some improvising by playing various note combinations of pattern one against your recording of the 12 Bar Blues in A. Play slowly and carefully at first, since accuracy is more important than speed at this stage.

Gary Turner and Brenton White

Gary Turner and Brenton White

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Class Sessions

1- Sixths 2- The Major Pentatonic Scale in Blues Improvising 3- Summary of Pattern One 4- Pattern Four 5- Patterns One and Four Combination 6- The Complete Pattern 7- Summary of Patterns 8- Additional Notes - the Blues Scale 9- Major Pentatonic Scale - Additional Notes 10- Minor Pentatonic Scale - Additional Notes 11- INTRODUCTION 12- Harmony Notes 13- Open String Slurs 14- An Alternative Improvising Method 15- Playing With the Pick and Fingers 16- Ideas For Further Study 17- Music Theory 18- Improvising Within A Song 19- Modulation 20- Ear Training 21- Harmonics 22- Chord Progressions 23- GLOSSARY OF MUSICAL TERMS 24- The Bend 25- The Major Scale 26- The 12 Bar Blues Progression 27- 12 Bar Blues Riff Number 2 28- Alternate Picking 29- The Major Scale - 2 Octaves 30- Minor Key Progressions 31- New Topic 32- The Blues Scale 33- Transposing 34- The Slur 35- Pattern One Extension (Key of A) 36- Major Key Progressions 37- Blues And Rock Progressions 38- Natural Harmonics 39- Copying Lead Solos From Records 40- Introductions 41- Fretboard Diagrams 42- The Major Scale 43- 12 Bar Blues Riff Number 7 44- Left Hand Position 45- 12 Bar Blues Riff Number 3 46- 12 Bar Blues Riff Number 4 47- Octaves 48- Key Signatures 49- Riff Number 8 50- Major Key Progressions 51- Left Hand Fingering 52- Tuning By Harmonics 53- Listening 54- Fill-Ins 55- Lead Solos 56- Tablature 57- Artificial Harmonics 58- Minor Key Progressions 59- Minor Keys And Scales 60- Notes on the Guitar Fretboard 61- Ideas For Improvising 62- Scale Tone Chords 63- Modulation 64- Tablature Symbols 65- Scale Tone Chord Extensions 66- The Chord/Key Relationship 67- Chord Formula Chart

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