Blues Scale in a practical sense
Hello David
I found some youtubes of your performances and Im wowed.
Im working mow on Improve #1 questions
1- I was humg up on how the AAA licks you show in the jam track example (2.1) fit across all 3 of the chords. You explained that the notes used in that exercies were all in the Blues scale. So is this then meaning that the D, C, B, G, works because those notes are found in the G blues scale?
2. Perhaps it should be obvious but can you clarify what AAA really means? Im taking it to mean that each of the three licks (4, 2 and 1 bar) are directly related. Whereas adding a B would have a different character. So when you say AAA it suggests that all three of the licks have the same fundemtal root.
3. I was listening to another youtube video on sing the blues scale on Piano and learned the standard intervales for this scale are 3 2 1 1 3 2 so this could then be appled to any key.
Im stuggling here on what my mental goal is. I can play the blues scale from memory but dancing around that scale, using parts of it it and making it all sound good is intimiidating. Is the mental goal to be able to know the semi tone intervals from every possible note on the harp (eg, Im on G and the next note is 3 semi tones up so therefore the next blues note is Bb)? I realize you have only called out three essential blues scales so perhaps its just raw memorization but even in doing so then Id be a cognitive recitation of the scale G, Bb, C etc and not thinking of intervals. Or am I better off thinking of the 3, 2, 1 etc intervals? This
Any hints or exercises to be able to internalize these scales to a working level on knowledge?
Thank you gwknopp. Answers below...
1) The G Blues Scale (the scale built on the I7 Chord) is G Bb C Db D F G. I assume I was saying that the lick I chose (it's been a while since I recorded that video, I don't remember the lick I used) was made of the blues scale. The blues scale can be used over all three chords. Since we're in G, then the G blues scale generally sounds good over all the chords. Also, there are notes within the G blues scale that match, specifically C, G, and Bb of the IV7 Chord (which is C E G Bb), and the D and C of the V7 Chord (which is D F# A C).
It's more about phrasing though. When you play the I7 (A) lick over the IV7 Chord (bars 5 and 6), it builds tension, that is resolved in bars 7 and 8, where the I7 comes back. The same idea for the V7 and IV7 in bars 9 and 10... the band moves away from you, and then resolves with you in bars 11 (and to some degree bar 12). In other words, it's "tension and release" happening, which is at the core of all phrasing.
2) Yes, "A" is just a label for a cool lick. The label is for bars 1 through 4 (even if there are multiple ideas/licks in those first four bars, it's still labeled A). The second A is an exact repeat for bars 5 through 8 and again, another A for bars 9 through 12. You will learn later that you can also use non-exact repeats, but the label will change to A A1 (A variation 1) and A2 (A variation 2).
3) Yes, those intervals can be used for a blues scale, starting on any note.
The goal for this lesson actually has nothing to do with the blues scale... sorry if I confused anything with me mentioning the blues scale. The goal is simply to grab a cool lick you like and I show you what to do with it. Let's focus on placement of licks now, and more of the theory later. P.S., it's best taken from the first four bars of a chorus, to make it easy for you right now.