Blues scales can effectively be used over minor chord progressions.When improvising to a three chord blues progression, use only one blues scale - the one built on the tonic.Notice that the 4th note is used twice - first natural and then raised.A shorter formula for the same process would look like this: 1 3b 4 4# 5 7b.To form a blues scale from a major scale do the following:.You can get a ton of mileage by playing chord tones paired with passing tones, chromatic enclosures and other techniques. This kind of technique is commonplace in jazz, and being able to shift gears between scales/arpeggios mid-phrase is an extremely useful skill.Īnother option is to use chord tones as the basis for your improvising instead of scales. The G altered scale works great in that one bar, so you could play a 2 bar phrase from Bb mixo that slips into G altered. Do you stick to the scale but just avoid the Bb and any other problem notes? It’s certainly an option, but there’s much more to consider.īar 8 is a great place to think about other options beyond Bb scales. Note that G7 has B natural, which poses challenges for strictly improvising with a Bb scale. This is where the “one chord fits all” approach falters. You can use these scales in a traditional (“non-jazz” I guess) 12 bar and they’ll work great the entire time.īut if you look at a typical jazz blues (the image you posted is a good example), the changes almost always contains a few secondary dominants (like the G7 chords in bars 8 & 11) or altered/substitute chords (the E° in bar 6, though that’s a mild example). Very useful, musical and frequently utilized. You could approach a jazz blues with a single scale like Bb minor penta., Bb mixo, Bb blues. This is a great question because there are so many possibilities, as well as pitfalls to be aware of.
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