But the thing I'm struggling with is the relationship between the notes in the chords commonly used in blues progressions (I7, IV7, V7) and the notes in the blues scale.
So as I understand it the G blues scale is G - Bb - C - Db - D - F - G (compared to a G major scale - flattened 3rd, fifth and seventh; no second (A) or sixth (E))
So ... In the triads chords we get an A, B, E and F#, which are not in the G-blues scale. If we leave out the third of the chord, we lose B, E and F#, but not A.
G7 - G B D F
C7 - C E G Bb
D7 - D F# A C
So a few questions:
- when playing blues, is it best to leave out the third? Does it matter?
- does the blues scale really only come into its own when playing and singing melodies and solos on top of the blues form. Do they exist together?
Have I just gotten something terribly wrong?
Michele - Perplexed!
Oh and I do go with the principle of if it sounds good it works, but it's good to know whether there are any rules of thumb and or theory logic behind this that I need to understand better before I trust my ears.
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