lead playing: playing the minor-major third

nick_D01 · 2011-04-20T18:39:45+00:00

hey guys in the process of learning a (blues) piece and the following motif/lick keeps coming up: hammering on from the minor to the major third (over each of the chords-I: A, IV?,V:E). thought i'd post up here and ask if anyone could shed more light on this device/trick. is it a standard blues/ lead guitar move? any help muchos gracias ?

Highway-Chile

Yeah okay Rene, no worries and thanks.

And by the way, thanks to all of you who gave thanks ?..... I just noted my thanks count is up...LOL.... I don't really know how that works but it seems cool.

Bob-Dubery

Highway Chile wrote Yeah okay Rene, no worries and thanks.

And by the way, thanks to all of you who gave thanks ?..... I just noted my thanks count is up...LOL.... I don't really know how that works but it seems cool.

If you look over to the left of any post by another poster you'll see a link that reads "[Give thanks]" You can use that to thank or applaud or encourage somebody who has posted something you particularly like. It's a way to show appreciation.

Renesongs

@Kalcium you are right on the button if you are looking at blues derived from the relative minor or minor pentatonic. Another school of thought consider the blues to be derived from the dominant or mixolydian mode which can be reduced to a major pentatonic in which case both the 3rd and 5th have to be altered to become a blues scale. This approach is interesting because the mixolydian mode corresponds with the dominant 7th chords that we are familiar with in blues. It is only when one analyse the blues as a deviation from a pentatonic major formed at the ionic or root position that you have to alter the 3rd 5th and 7th in order to achieve a blues scale.

Kalcium

Renesongs wrote @Kalcium you are right on the button if you are looking at blues derived from the relative minor or minor pentatonic. Another school of thought consider the blues to be derived from the dominant or mixolydian mode which can be reduced to a major pentatonic in which case both the 3rd and 5th have to be altered to become a blues scale. This approach is interesting because the mixolydian mode corresponds with the dominant 7th chords that we are familiar with in blues. It is only when one analyse the blues as a deviation from a pentatonic major formed at the ionic or root position that you have to alter the 3rd 5th and 7th in order to achieve a blues scale.

ah i see! Wow there is so much to theory! I must say im quite surprised at being able to follow most of this thread (know nothing of modes other than that they exist haha) But I think I would do a lot better if I actually went for lessons...maybe one day... ?

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