| Generally, playing the Blues is an emotional high | | | | D9 chord. Is there something that both the Dorian |
| for most guitarists. When one perfects the | | | | Mode (played at 5th fret; A) and the D9 chord |
| techniques necessary in order to execute guitar | | | | have in common? Of course there is. You really |
| solos in this particular idiom of music, audiences | | | | didn't think you'd get out of this article without |
| perk up and really get into the groove. The Blues | | | | putting in some work, did you? |
| can certainly move people. The chord changes, | | | | Another fun approach to the D9 (IV chord) chord, |
| pertaining to the Blues, are also very moving to | | | | is to play a D Mixolydian Scale (no substitutions) |
| most audiences. | | | | against the D9 chord, but only against the D9 |
| As we all know, there many forms and styles of | | | | chord. The Mixolydian Scale is a dominant scale. |
| the Blues. Delta, Mississippi, and the Chicago Blues | | | | Therefore, it works and sounds great against the |
| are just a few that come to mind. Many guitarists | | | | D9 chord, which is a dominant chord. The sound |
| and artists have devoted their entire lives to | | | | of this particular combination is very uplifting to an |
| perfecting their presentation of the Blues. Once | | | | audience. It also contains an element of surprise. |
| again, this is well known by all. Most of us are | | | | Surprise is a good thing in music. |
| thankful that they did. | | | | Let us not forget the blue note. It's best to think |
| This article is intended to explain a few | | | | in terms of that minor pentatonic scale again |
| approaches to playing contemporary Blues guitar. | | | | (played at the 5th fret; A) in order to analyze the |
| Here, the guitar chord and guitar scale application | | | | blue note. The blue note occurs by lowering the |
| is quite different from the above referenced | | | | 5th of the A minor pentatonic scale by a half |
| forms of Blues. Further, this article is not intended | | | | step. Therefore, the actual blues scale would now |
| to teach any particular style of Blues. The intent | | | | contain the following notes: A-C-D-Eb-E-G. The Eb |
| here is to merely examine some contemporary | | | | isthe blue note. The strict theorists have an |
| approaches to playing the Blues. | | | | obsessive need to hear the blue note. I agree |
| Many guitarists think in terms of utilizing pentatonic | | | | with their obsession. The blue note (lowered 5th |
| scales when approaching a Blues situation. Further, | | | | of the A minor pentatonic scale) sounds great |
| many guitarist, in the contemporary sense, utilize | | | | played against the A7 chord, D9 chord, and the |
| the I- IV- V progression as their fundamental | | | | E9 chord. This is the authentic blues scale. |
| harmonic approach. The I- IV- V progression can | | | | As a general rule, less is more when playing the |
| be major chords (generally triads), dominant | | | | Blues. The chords referenced above are extended |
| chords (7th's, 9th's, 11th's, 13th's), minor chords | | | | chords. While they may be used in a Blues |
| (minor triad, minor 7, minor 9, minor 11, minor 13, | | | | scenario, it's best to keep the chord progressions |
| etc.), or a combination of all of these chords (and | | | | and the actual chords simple. Simplicity is the |
| sometimes more). | | | | essence of the Blues. The beauty is in the scale |
| A common approach to a I-IV-V Blues | | | | selection (melodic solo application). When the actual |
| progression (all major chords), is the use of a | | | | chords are 3 or 4 part chords, the scale tones |
| minor pentatonic scale over all three chords. For | | | | (whether pentatonic or diatonic) can imply |
| example, a chord progression utilizing an A7 (I | | | | different things for different listeners. Once again, |
| chord), progressing to a D9 chord (IV chord), and | | | | this implication is what makes the movement of |
| then using an E9 chord as the V chord would | | | | Blues attractive and emotional. |
| generally dictate the use of an A minor pentatonic | | | | Try playing an E Mixolydian Scale (Mixolydian |
| scale (played at the 5th fret; A) for all three | | | | Mode) against the E9 chord (V chord). This also |
| chords. This type of chord progression is | | | | adds an element of surprise for the listener. |
| considered standard Blues I-IV-V. However, the | | | | There are literally hundreds of options and choices |
| guitar scale approach can be anything but | | | | that we could analyze for a blues progression. It's |
| standard. It's all open to interpretation as a | | | | all about the choices. Knowledge is king. Application |
| guitarist or any instrumentalist. The interpretation | | | | is just a simple matter of choice. |
| is where the fun comes in. | | | | The truth is that one could literally employ several |
| Now, we all know that a true pentatonic scale | | | | altered chords, altered scales, and imply different |
| consists of a root note, b3rd, 4th, 5th, and b7th. | | | | key signatures all day and all night (including |
| Therefore an A minor Pentatonic Scale would | | | | traditional minor keys and scales). That is, those |
| contain the following notes: A (root), C (b3rd), D | | | | who are well schooled in theory and application. |
| (4th), E (5th), and G (b7th). Once again, this A | | | | Can you imagine approaching a simple Blues |
| minor pentatonic scale works great when played | | | | progression with hundreds of choices to throw at |
| over the A7, D9, and E9 chords. However, it's fun | | | | the progression? If not, then you're limiting |
| to experiment and switch things up a little bit | | | | yourself. It's really that simple. When the thirst for |
| when performing for an audience. This is where | | | | authentic education hits, progress is inevitable. |
| clever departure from the anticipated and | | | | Playing Blues guitar can be fun and rewarding for |
| standard really pays off. Think about this concept | | | | those who choose this particular style. While Blues |
| for a minute (wish I could remember where I | | | | is a standard part of my teaching curriculum, my |
| heard this). If we change the way we look at | | | | personal favorite and style is progressive |
| things, then the things we look at change. It's a | | | | Pop-Rock. The challenges, for me, are much |
| simple, but a very profound lesson in life and in | | | | greater and the choices are endless. |
| music. | | | | Could this article have contained references to |
| The next time you bump in to this type of | | | | key signatures and almost every melodic and |
| progression, experiment with sound. For example, | | | | harmonic approach to playing the Blues? The |
| play the A minor pentatonic scale over the I | | | | answer is yes. However, the true intent here is to |
| chord (A7). When you progress to the D9 chord | | | | help those who need a little motivation, not to |
| (IV chord), play an A Dorian Scale (Dorian Mode). | | | | spoon-feed. |
| The Dorian Mode works well against the sound of | | | | Whatever your style, it's important to develop an |
| the D9 chord. Why? Here's a good field trip for | | | | awareness of music theory. Through this |
| some of you. Go back and read my article | | | | awareness, you'll develop the ability to make |
| entitled The Dorian Mode-What Every Guitarist | | | | choices. This is a winning scenario. |
| Should Know. Look for the most characteristic | | | | © 2008 Michael E. Fletcher. All Rights |
| element of the Dorian Mode. Then, analyze the | | | | Reserved Worldwide. |