Fm Jacques de Lignières
When, in the United States, the African musical cultures (an oral approach to melody and rhythm) met with the European tonal tradition, this confrontation generated a conflict on certain degrees of the major diatonic scale with the non-tempered African pentatonics. The “blue notes” are the result of a compromise!
They are the # 9, # 11 or (b5) and b7.
There are several blues scales. The most common has the following form:
Tonic/ Minor third / Fourth/ Augmented Fourth/ Fifth/ Minor seventh
Ex: C Scale Blues *
These are the notes of the C pentatonic minor with the addition of the #11, here it’s a F #.
It is a scale that allows us to play modal on the Blues
On a major Blues in C , we can use the C Blues*, the use of the minor third on a major chord is one of the characteristic of the Blues.
But we can also use the Blues scale of minor relative , here this will be the A Blues scale **
A Blues scale**
On a minor blues in C, we will use the C Blues* scale.
It is also possible to use several Blues scales on the main steps of the Blues (I – IV – V)
Nb: Of course, there are other options , including the myxolydien mode on the X7 chords for major Blues and also, the Dorian mode on Xm7 chords in Minor Blues …
With the time, the Blues evolved from the most basic form to more sophisticated forms. (for instance, the Swedish blues tone for which the tonal approach is preferable)
|Blues basic form:
|Exemple in C
for print: About the Blue scale