![]() regardless of what anyone says about a blues scale the basic primary chords provide all the tones for a diatonic major scale. Consider the three primary harmonies: tonic, dominant, and subdominant I V IV. I think the blues tonality can be described as an amalgamation of diatonic and characteristic chromaticism. But, this does open up the discussion to say: don't just look at the blues scale as a melodic resource. There is classic question of whether melody originates from scales or chords. I sort the blues scale in my answer above. If you get fixated on a blues scale over chords you could get stuck into a rigid way of thinking. But it does show cross rhythm, repeating riff, clashing notes over the F chord, and a makes a good point about the "blues scale" in his answer. pretty corny, maybe too ragtime for what you want to do. The clashing is fine with the general notion that you eventually get to some "resolution" on the tonic or dominant.Ī sterotypes application of the above might look like. Often shorts riffs like this are play over all the chord changes without regard for the "clashing" notes. Small segments of the blues scale often get repeated, like in C use C Bb G or Gb F Eb C. Syncopation is also characteristic, playing notes on the up beat. Polyrhythm is very characteristic of blues, that means playing patterns of 3 melodically over a meter of 2 or 4. Surely, the tonic and dominant tones will be natural resting points or central tones for the melody.įocus on rhythm more than a traditional notion of melodic contour. ![]() ![]() In typical melody writing the melody often uses tones that match the chords along with the careful use of non-chord tones.īut in 12-bar blues the general feeling is: any note of the blues scale can be played over any chord in the progression, so the rule of thumb above doesn't really apply to the blues. ![]()
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