pentatonic scales 25 - amazon web...

Why Learn the Blues? 3 Tuning 3The Chromatic Scale and Notes on the 6th String 4Notes on the 5th String 5Common Notes Between the 6th and 5th Strings 6The I-IV-V Chord Progression 6Chords in Blues 9Groove: Straight vs. Shuffle/Swing 16The 12-Bar Blues 17Chord Fragments 19Vocal Elements 22Pentatonic Scales 25

Table Of Contents

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Ex.1

6

4&

Â‰ÊGuitarTuning:

=D3

=E2

=A2 ‚·„=G3

=B3

=E4

WhyLearntheBlues?

Tuning

Beforeplayinganythingelse,itisimportanttogetyourguitartuned.Forthiscourse,wewillusestandard

tuningasshownbelow:

1.YouprobablyliketheBlues.Youlikelisteningtoit,goingtoconcertsfeaturingyourfavoritebluesar�sts,

etc.becausetheBluesisinspiringtolistentoandwatchpeopleplayit.

2.Ithasalltheelementsyouneedasaguitarplayernoma�erwhatstyleofmusicyoufavorplaying.

3.Bluesisaveryeffec�vemeansofcommunica�onamongstmanymusicians.Itisveryconsistent.

Itdoesthesamethingsoverandoverforthemostpart.Itissopredictablethatmanymusicianscan

playtogetheralmostinstantly.

ThesearethreereasonswhyyouwillwanttolearntheBlues.

BluesSoloingMasterclass-Week1

SteveS�ne

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E F F# G G# A A# B C C# D D#

Ex.2

2

E Eb D Db C B Bb A Ab G Gb F E

3

&

TheChroma�cScaleandNotesonthe6thString

Tounderstandtheguitarfretboard,weneedtounderstandthechroma�cscale(allofthe12

possiblepitchesinmusic).Thisisbecausetheguitarfretboard'sisdividedbyfretwiresinaccordancetoit.

Eachfretisseparatedfromeachotherbyahalfstep.Playingallthenotesonasinglestringonallfretsin

successionproducesthechroma�cscale:

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Whatweseearethenotesoverthe6thstringthatweneedtomemorize.Todoso,takenoteofthe

following:

1.Theopen6thstringisE.

2.The1st,3rd,5th,and7thfretshavethenotesF,G,A,andBrespec�vely.Thesetypicallyhavefretmarkers.

3.Inbetweenthe9thfretareCandD(8thand10thfret).The12thfretnoteisE.

4.Therestofthenotes(accidentals)canbederivedbychroma�cscalelogic.

Whileitwouldbenicetobeabletomemorizeallthenotesperfret,thereisaneasierandsmarterway

ofgoingaboutit.Takenoteoftheimageofthefretboardbelow:

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0 1 2 3 4 5 6 7 8 9 10 11

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A A# B C C# D D# E F F# G G#

Ex.3

5

A Ab G Gb F E Eb D Db C B Bb A

6

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Notesonthe5thString

Inthesamemannerasthe6thstring,wecanalsoderiveachroma�cscalefromthe5thstring

star�ngwithA:

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Lookingatthepictureabove,thesmartestwaytomemorizethenotesofthe5thstringisasfollows:

1.Knowthattheopen5thstringisA.

2.The2nd,3rd,5th,and7thfretshavethenotesB,C,D,andErespec�vely.Exceptforthe

2ndfret,thesetypicallyhavefretmarkers.

3.Inbetweenthe9thfretareFandG(8thand10thfret).The12thfretnoteisA.

4.Therestofthenotes(accidentals)canbederivedbychroma�cscalelogic.

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A A B B C C D D E E F F G G

Ex.4

8

I IV V

Ex.5

11

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CommonNotesBetweenthe6thand5thStrings

Theques�onnowiswhyisitespeciallyimportanttomemorizethenotesofthe6thand5thstrings?

Thisisveryimportantbecauseitmakesiteasiertolearnscales,chords,andpa�ernsifweknowthe

notesofthe6thand5thstrings.Eachnotethenbecomesalandmarkforvariousscaleandchord

pa�erns.Onceyouhavemasteredthenotesoverthe6thand5thstrings,youcangetevenbe�er

ifyoulearnthenotesoftherestofthestringstobecomemoreconfidentwhenplayingtheguitar.

Oneofthethingsthatcanbeno�ceda�erlearningthenotesofthe6thand5thstringsisthatyou

caniden�fycommonnotesbetweenthetwostrings.Thishastheaddedbenefitofbeingableto

navigatethefretboardbe�erandlearnpa�ernsmoreefficiently.

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A D

E

TheI-IV-VChordProgression

InBlues,thefundamentalchordprogressioniscalledtheI-IV-V.InthekeyofA,forexample,theI-IV-Vis

A-D-E.Inmusictheory,eachmajorscale/keysignaturehassevennotesandwillthereforehavesevenchords.

Wetakethefirst(I),thefourth(IV),andthefi�h(V)chordfromthatkeysignatureandplaytheminsequence

togettheI-IV-Vchordprogression.ManybluessongsfollowtheI-IV-V.Takenoteofthepa�ernbelow:

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Ex.6

12

I IV V

Ex.7

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I IV V

Ex.8

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&

Ifyoulookintothepreviousexampleclosely,therootoftheIchordisatthe6thstring,therootoftheIV

chordisjustunderneathitatthe5thstring,andthentheVchord'srootisatthe5thstringtwofretsaway

fromtheIVchord.AsforourexampleinthekeyofA,theIchord'srootisatthe6thstring5thfret,theIV

chord'srootatthe5thstring5thfret,andtheVchord'srootatthe5thstring7thfret:

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A D

E

SincewecannowfindwheretherootnotesoftheI-IV-Vare,allwehavetodoisfleshoutthechords:

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GC D

Becausethispa�ernisconsistent,wecanjustmoveitanywhereonthefretboardtoplayaI-IV-Vchord

progressioninanykeywewant.Forinstance,allittakestoplayaI-IV-VinthekeyofGistomovethe

pa�erntothe3rdfret:

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I IV V

Ex.9

15

I IV V

Ex.10

16

I IV V

Ex.11

17

&

A D E

Forthenextexample,let'sputtheIchordonthe5thstringthis�me.Thepa�ernforourI-IV-Vwilllooklike

this.Wewillplotouttherootnotesfirst:

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A5 D5 E5

YoucanseethattheiftheIchordrootisatthe5thstring,youcanfindtheIVatthe6thstringtwofrets

backandtheVchordjustaboveit.Wecannowfleshthemoutaspowerchords:

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E5

A5 B5

RememberthataslongasyouknowwheretherootofyourIchordis,youcandothesepa�ernsallover

thefretboardindifferentloca�onstoplayindifferentkeys.Let'sapplythe5thstringrootpa�ernforthe

keyofE:

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C A G E D

Ex.12

18

F A‹ B‹ E‹ D‹

19

5

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ChordsinBlues

ToknowhowtoapplychordsintheBlues,weneedtoknowhowtoplayour10essen�alopenchords:

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C7 A7 G7 E7 D7

Ex.13

20

F7 A‹7 B‹7 E‹7 D‹7

21

&

BecausetheBluesischaracterizedbytheuseofdominantseventhandminorseventhchords,weneedto

learnhowtoconvertouropenchordsintothesekindsofseventhchordsbyaddingaminorseventhto

eachofthem.Insomeofthechords,wehave"rootless"voicings:

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Open E chord

E

F major

F

Ex.14

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F© G

4fr

A¨

5fr

A

Ex.15

23

4

4&

Barat1stfret,Eshapemovesuponefret

Barrechordsarenothingmorethanopenchordsthathavebeenmoveduptheguitar,withthefirst

fingerbeingusedtobaracrossafrettofunc�onasthenut.Sixthstringbarrechordshavetherootat

thesixthstring(asthenameimplies)andarebasedontheopenEchordshape:

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Giventhattheshapeiseasilymovable,youcanplayall12possiblebarrechordsbysimplymovingitwhere

youneedittobe:

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E‹ F‹ G‹

5fr

A‹

Ex.16

24

A B C

5fr

D

Ex.17

25

&

Theminorchordversonofthe6th-stringbarrechordworksthesameway:

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Anotherkindofbarrechord,the5th-Stringbarrechord,worksinthesamewayexceptitisbasedontheAshape:

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A‹ B‹ C‹

5fr

D‹

Ex.18

26

I IV V

Ex.19

27

I IV V

Ex.20

28

3

4

&

Theminorchordversonofthe5th-stringbarrechordworksthesameway:

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G

I-IV-Vstar�ngwith6th-stringbarrechordinthekeyofG

C D

CombinedwiththeknowledgeofhowtoplayI-IV-Vchordprogressionsstar�ngfromthe6thor5thstring,

youcanplayI-IV-Vchordprogressionsinanykeyusingbarrechords:

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Eb

I-IV-Vstar�ngwith6th-stringbarrechordinthekeyofEbb

Ab

Bb

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i iv v

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6th-string

barre chord

Two-string

power chord

Three-string

power chord

Ex.21

30

5th-string

barre chord

Two-string

power chord

Three-string

power chord

Ex.22

31

&

Am

Dm

Em

Youcanalsoplaytheminorversion,i-iv-v,inbarrechords,usingthesameprinciples.Thisexampleisin

Aminor:

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G G5 G5

Nowthatyouknowyourbarrechords,powerchordsarejustthetoptwoorthreestringsofany6th-or

5th-stringbarrechord:

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C C5 C5

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™™™™

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Ex.23

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Ex.24

33

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A5

Major6th

Ifwechangeourfi�htoamajorsixthatbeatstwoandfour(bysimplyextendingthefre�ngfingerthat

playsthefi�htwofretsaway)wegettocreateaBluessoundingrhythmguitarpassage:

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A5

Major6th

Minor7th

Wecanaddanotherextension,aminorseventh,toourpowerchordtocreatethefamiliarsounding

bluesriff:

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Ex.25

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Ex.26

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Ex.27

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A5

Groove:Straightvs.Shuffle/Swing

Astraightgrooveinbluessimplymeanseighthnotesbeingplayedinatypicalmanneri.e.each

eighthnoteisbeingplayedwithequallength(marchingrhythm).Mostmusicinexistencehas

thiskindofgroove:

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3 3 3 3

Aswing/shufflegrooveinbluesisbasedonatripletrhythmaswri�enbelow:

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Playedas: Wri�enas:

3 3 3 3

Aswing/shufflegroove,however,omitsthesecondnoteofthetriplet,givingtherhythmthetypical

swingorshufflefeelfeaturedinbluesthathastheimpressionofaheartbeat:

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GroupI:FourmeasuresoftheIchord

I

The12-BarBlues

The12-barbluesisthefundamentalforminblues.Itisimportanttolearnallaboutthisformbecause

amajorityofbluessongsarewri�enwiththisformatinmindsuchasZZTop's"Tush",RobbenFord's

"TalktoYourDaughter",etc.Whathappensina12-barbluesisthatitlaysouttheen�recyclewhere

theI-IV-Vchordprogressionhappensaswri�enbelow.Wecanalsoiden�fythreedis�nctfour-measure

groupsorperiodsasfollows:

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GroupII:TwomeasuresofIV,twomeasuresofI

IV I

&

GroupIII:V,IV,I,V

V IV I V

&

A (I)

Hereisanexampleofthe12-barbluesinapar�cularkeysignature.ThisoneisinA:

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D (IV) A (I)

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E (V) D (IV) A (I) E (V)

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V V V V V V V V V V V V V V V V






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ModerateSwing q =104

Ex.30

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A (I)

. . . . . . . . . . . .

Asaprac�calexampleofhowtoplaya12-barbluespa�ern,hereisa12-barblueschorusinA

withembellishmentsasnotedtomakeplayingali�lemoreinteres�ng:

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œ

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

œ

œ

œ

œ

œ

œ

œ

œ

œ

œn

n œ

œ

œ

œ#

# œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n œ

œ

œ

œ#

# œ

œ

5

7

5

7

7

9

7

9

8

10

8

10

9

11

9

11 5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7

5

7

2

4

2

4

3

5

3

5

4

6

4

6

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œn

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb

b œ

œ

5

7

5

7

5

9

5

9

5

7

5

7

5

10

5

9

5

10

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9 7

9

7

9

7

11

7

11

7

9

7

9

6

8

6

8

œ

œ

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ#

#œ

œ

œ

œ

¿

¿

¿

¿

5

7

5

7

5

9

5

9

5

7

5

7

5

9

4

6

5

7

5

7

5

9

5

9

5

7

5

7

5

9

5

9

5

7 5

7

6

8

7

9

X

X

X

X

16



°

¢

°

¢

°

¢

°

¢

6th-string

barre chord

5fr

A7

5fr

A7

5th-string

barre chord

5fr

D7

5fr

D7

25

6fr

E7(#9)

26

&

#

#

#

ChordFragments

Inblues,wemakeuseofchordfragmentsandembellishments...

1....tomakethingsabiteasiertoplay.

2....tomakeplayingalotmorefun.

Thefirstthingweneedtodoisturnourmajor6th-and5th-stringbarrechordshapesinto

dominantseventhchords:

⁄

&

#

#

#

SincewealreadyhaveourIandIVchordsrespec�velyturnedintodominantseventhchordsintheexample

above,wecanmakeourVchordalotmoreinteres�ngbyturningitintoa7(#9)chord.WehaveanE7(#9)

shownbelow:

⁄

œ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

n

œ

œ

œ

œ

œ

n

5

7

5

6

5

5

5

7

5

6

7

5

5

7

5

7

5

5

7

5

7

8

w

w

w

w

n

#

7

6

7

8

17



°

¢

°

¢

°

¢

°

¢

4fr

D9

Ex.31

27

11

&

#

#

#

WecanalsoturnourIVchordintoaIV9chordtomakeitmoreinteres�ng.WehaveaD9chordinthiscase:

⁄

&

#

#

#

A7 D9 D#9 E7(#9)

Etc...

n

n

n

Wecanalsousechroma�cmovementofourD9chordgoinguptotheE7(#9)chord(oranyother

chroma�cmovementtowardanychordforthatma�er):

⁄

w

w

w

w

n

5

4

5

5

œ

œ

œ

œ

œ

œ

#

n ™™™™™™

œ

œ

œ

œ

œ

œ

¿

¿

¿

¿

¿

¿

œ

œ

œ

œ

œ

œ

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ#

#

‹

#

œ

œ

œ

œ#

n

#

n

˙

˙

˙

˙

Ó

5

7

5

6

7

5

5

7

5

6

7

5

X

X

X

X

X

X

5

7

5

6

7

5

X

X

X

X

X

X

X

X

X

X

X

X

5

7

5

6

7

5

5

4

5

5

6

5

6

6

7

6

7

7

18



°

¢

°

¢

5fr

A‹7

5fr

D‹7

7fr

E‹7Ex.32

13

&

Thechordfragment/embellishmentconceptcanalsobeusedtotreatminorchordsinasimilarfashion.

The12-barbluesinminorsoundsmuchmorereservedandwouldtendtobelessflamboyantandalot

moresubtle.Weturnouri-iv-vchordsintominorseventhchordsfirstthengoaheadandplaysome

12-barblueswiththosechords.Youcanuseastraightorashufflerhythmicfeelwhenprac�cing:

⁄

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

˙

˙

˙

˙

˙

5

7

5

5

8

5

5

7

5

6

5

7

9

7

8

7

19



°

¢

°

¢

°

¢

°

¢

Ex.33

14

Ex.34

16

&

Whole-stepbendtargetsapitchtwofretsaway. Whole-stepbendpitchshouldmatchthepitchbelow:

VocalElements

Whenwetalkaboutvocalelementsinblues,theseareguitartechniquesthata�empttoemulate

thehumanvoiceascloselyaspossiblewhenplayingmelodicorleadlines.Thesetechniquesare:

1.Bends

2.Vibrato

3.Hammer-ons,pull-offs,andtrills

4.Slides

Bendinginvolvespushingthestringupordownthesurfaceofthefretboardasplitsecond(orless)a�er

anoteisplayedtoproduceanaudibleshi�inpitchupwardstoanothernote.Thewhole-stepbendmoves

anoteawholesteportwofretsupinpitchfromitsoriginalpitch:

⁄

full

&

Half-stepbendtargetsapitchonefretaway.

Half-stepbendpitchshouldmatchthepitchbelow:

Thehalf-stepbendshouldproduceanotethatsoundsonefretupfromoriginalpitch:

⁄

1/2

œœ œ

™˙™

w

5 7

œœ œ

™˙™

w

7 8

20



°

¢

°

¢

°

¢

°

¢

°

¢

°

¢

Ex.35

18

Ex.36

20

Ex.37

21

&

Step-and-a-halfbendtargetsapitchthreefretsaway.

Step-and-a-halfbendpitchshouldmatchthepitchbelow:

Thestep-and-a-halfbendshouldproduceanotethatsoundsthreefretsupfromoriginalpitch:

⁄

1 1/2

&

Bluesbend

Vibrato

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

Abluesbendchangesthepitchoftheoriginalabovetheoriginalpitchbutjustlessthanahalf-stepbend.

Itisusedasanaccentratherthanactuallymovingmelodically,andtheslightlyoffpitchitproducesis

usuallyresolvedtoachordtoneoranothernoteinthemelody.Toplayabluesbendproperly,youneedto

maketheoriginalpitchaudiblefirstandthenperformthebluesbendjustbeforeendingthatnote.

Thevibrato(representedbyasquigglylineabovethenote)isperformedusingasmall,oscilla�ngbendmo�on

overthefre�ednotethatcanrangefromasubtlerepe��tvedevia�on-from-and-return-topitchtosomething

thatsoundswild.Itistypicallyusedtoaccentuatelong,heldnotes:

⁄ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ1/4

&

Hammer-on Pull-off Trill

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ahammer-oninvolvesplayingonepitchfre�edbyonefinger(usuallyindexfinger)andthensuccessively

hammeringanotherfingertoahigherpitch(whilekeepingonfre�ngthelowerpitch)WITHOUTpicking.

Apull-offistheoppositeasitinvolvesplayingahigherpitchthenpluckingofftoalowerpitchusingthe

fingerthatusedtofretahigherpitch.Atrillisarapidsuccessionofhammer-onsandpull-offs:

⁄

œ

œ œ™

˙™

w

10 13

œ œ œµœ ˙ ™

5 5

7

œnœ ˙

™œœ ˙ ™ w

5 7 7 5 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7

21



°

¢

°

¢

°

¢

°

¢

Ex.38

24

Ex.39

25

&

Slidefromsomewhere

Slidesinvolveanaudiblechangeinpitch(downwardsorupwards)fromonenotetothenextusing(asthe

nameimplies)aslidingmo�onacrossthefretboard.Otherthancausingachangeinpitch,slidesarealso

greatformovingacrossthefretboard.

Althoughtherearemanyvaria�ons,thetwobasiconesarewhat'sknownasaslidefromsomewhere

i.e.playingafre�ednotedefini�velythenmovingtothenextpitchusingaslideandaslidefromnowhere

a.k.a."airplane"slidei.e.playinganindefinitepitchthenslidingquicklytoadefinitepitch:

⁄

&

Slidefromnowherea.k.a."airplane"slide

⁄

œœ œ

œ

5 7 7 5

¿œ ¿

œ

X 7 X 5

22



°

¢

°

¢

°

¢

°

¢

°

¢

°

¢

Ex.40

26

Ex.41

29

Ex.42

32

&

PentatonicScales

ThemostbasicofscalesusedintheBlueshasalwaysbeenthepentatonicscale.Itisascalethathasfive

notesinsuccession.Itistheeasiestscaletolearnanduseinallofmusicjustbecauseallofitsnoteswill

soundgreatoveranychordprogressionaslongasitisplayedinthecorrectkey.Ithastwobasicvarie�es.

Thefirstonetypicallylearnedistheminorpentatonicscaleinthepa�ernshownbelow.Theexampleshown

istheAminorpentatonicscale.Thepa�ernwearestudyingiswhatwecallthefirstposi�on(sinceweare

star�ngatthefirstnoteofthescale).Thenextfourposi�onsarechartedaswell:

AMinorPentatonic-1stPosi�on

⁄

&

AMinorPentatonic-2ndPosi�on

⁄

&

AMinorPentatonic-3rdPosi�on

⁄

œ

œœœ

œœ

œœ

œ

œœ

œ œ

œœ

œœœ

œœ

œœœ

œ

5 8

5 7

5 7

5 7

5 8

5 8 8 5

8 5

7 5

7 5

7 5

8 5

œœœ

œœ

œœœ

œœ

œœ œ

œ

œœ

œœœ

œœ

œœœ

8 10

7 10

7 10

7 9

8 10

8 10 10 8

10 8

9 7

10 7

10 7

10 8

œœ

œœ

œœœ

œœ

œœœ œ

œœ

œœ

œœœ

œœ

œœ

10 12

10 12

10 12

9 12

10 13

10 12 12 10

13 10

12 9

12 10

12 10

12 10

23



°

¢

°

¢

°

¢

°

¢

°

¢

°

¢

Ex.43

35

Ex.44

38

Ex.45

41

&

AMinorPentatonic-4thPosi�on

⁄

&

AMinorPentatonic-5thPosi�on

⁄

&

AMinorPentatonic-5thPosi�on(LowerOctave)

⁄

œ

œœ

œœœ

œœ

œœœ

œ œ

œœœ

œœ

œœœ

œœ

œ

12 15

12 15

12 14

12 14

13 15

12 15 15 12

15 13

14 12

14 12

15 12

15 12

œœ

œœœ

œœ

œœœ

œœ œ

œ

œœ

œ

œœ

œœœ

œœ

15 17

15 17

14 17

14 17

15 17

15 17 17 15

17 15

17 14

17 14

17 15

17 15

œœ

œœœ

œœ

œœœ

œœ œ

œ

œœ

œ

œœ

œœœ

œœ

3 5

3 5

2 5

2 5

3 5

3 5 5 3

5 3

5 2

5 2

5 3

5 3

24



°

¢

°

¢

°

¢

°

¢

°

¢

°

¢

Ex.46

44

Ex.47

47

Ex.48

50

&

Thenextexampleshownbelowistheparallelmajorpentatonicscale.Theexampleshownbelowisthe

Amajorpentatonicscale.Wegettheparallelorcounterpartmajorpentatonicscaleofaminorpentatonic

bymovingtheen�repa�ernthreefretsbackwardBUTweemphasizethenotethatisfre�edbythepinkie

ratherthantheindexfingerasseeninminorpentatonic.Thisisthepa�ernwewillconsiderasfirstposi�on.

Therestofthepa�ernsarechartedaswell:

AMajorPentatonic-1stPosi�on

⁄

&

AMajorPentatonic-2ndPosi�on

⁄

&

AMajorPentatonic-3rdPosi�on

⁄

œœ

œ#

œœ#

œœ

œ#

œœ#

œ œ

œœ

œ#œ

œ

œ#œ

œ#œ

j

œ™

5

2 4

2 4

2 4

2 5

2 5 5 2

5 2

4 2

4 2

4 2

5

œœ

œ#

œœ#

œœœ#

œœ#

œœ œ

œ

œœ

œ#œœ

œ#œ

œ#œœ

5 7

4 7

4 7

4 6

5 7

5 7 7 5

7 5

6 4

7

9 7

9 7 5

œœ#

œœ#

œœœ#

œœ#

œœ

œ# œœœ

œœ

œ#œœ

œ#œ

œ#œ

7 9

7 9

7 9

6 9

7 10

7 9 9 7

10 7

9 6

9 7

9 7

9 7

25



°

¢

°

¢

°

¢

°

¢

Ex.49

53

Ex.50

56

&

AMajorPentatonic-4thPosi�on

⁄

&

AMajorPentatonic-5thPosi�on

⁄

œ#

œœ#

œœœ#

œœ#

œœ

œ#

œ œ

œœœ

œ#œ

œ#œœ

œ#œ

œ#

9 12

9 12

9 11

9 11

10 12

9 12 12 9

12 10

11 9

11 9

12 9

12 9

œœ#

œœœ#

œœ#

œœ

œ#

œœ# œ

œ

œœ

œ

œ#œ

œ#œœ

œ#œ

12 14

12 14

11 14

11 14

12 14

12 14 14 12

14 12

14 11

14 11

14 12

14 12

26



Progress TrackerDate

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

/

Why Learn the Blues?

Tuning

The Chromatic Scale and Notes on the 6th String

Notes on the 5th String

Common Notes Between the 6th and 5th Strings

The I-IV-V Chord Progression

Chords in Blues

Groove: Straight vs. Shuffle/Swing

The 12-Bar Blues

Chord Fragments

Vocal Elements

Pentatonic Scales

Blues Soloing Masterclass - Week 1


pentatonic scales 25 - amazon web...

Documents