Overlaying Modes Part 2 (December 2011) Updated Feb 2012
See if you can swallow this medicine....
Play Pentatonic minor. (blues scale with the blue note b5th) ie. 1st b3rd 4th b5th 5th b7th.
Play Dorian (to account for the 2nd 6th) over Pentatonic minor.
Then play Mixolydian (to account for the major 3rd) over Pentatonic minor.
Then play Phrygian (to account for b2nd and #5th) over Pentatonic minor.
The only note not in the sequence is the major seventh which tends not to be a strong note in blues though used to slide to the 1st.
Sum them and you have chromatics over a blues progression.
This explantion justifies the use of:
1. The blue note (b5th)
2. The major 3rd.............
3. The major 6th.............2 notes missing from the minor Pentatonic scale and blues backing chord such as dominant 7th containing the 3rd and blues riffs containing 1st 5th 6th and b7th.
4. The flat 2nd
5. The sharp 5th
It may be a way to crab from Rock...Blues to Jazz without too much heartache.
I wonder if this may be something along the lines of Ray Beadles' approach.
Guitarmodes gives you the knowledge to play all scales and their modes in any direction fluently across the fretboard. It is also a method to link chord inversions if you want to move away from boxes.
Yuck! Spit it out(: ? or Yum! Taistes like raspberry:) ?
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