As promised, this blog will be about the different approach I take to Country playing vs Blues. At first it might seem like they have nothing in common but they oftentimes make use of the same Chord Progression.
Let’s look at the key of E:
1 2 3 4 5 6 7
E F# G# A B C# D#
So a I IV V progression would be:
I IV V
EMaj AMaj BMaj
The most straight forward Blues approach is to use the E Blues Scale:
1 b3 4 5 b7
E G A B D
The blues scale makes use of the flatted third against an E Major chord. While that sounds like it might clash, the rhythm on blues often times leave the full chord out:
So the chords is E (6th string open) and B (5ths string 2nd fret) and then E and C# (5th string 4th fret). C# is the 6th of the chord and the rhythm alternates between the two.
This gives the soloist some room to stretch out. So the E Blues minor feel doesn’t clash with the chords.
Advanced Blues Soloing treats all the chords above as Dominant 7 chords:
E7 A7 B7
E7 is :
E G# B D
So all the notes are there in the Blues scale for the chord except the G# – the E Blues scale has a G. A very common lick is to coming the two – G -> G# -> resolve to E. This can be done on any of the 3 chords above, but you have to pay attention to which chord is being played.
Playing the dominant chord shapes on the guitar for each chord as it is being played is a nice exercise to get used to where the notes are. From there you can start to stretch out:
E7: E G# B D
A7: A C# E G
B7 B D# F# A
The B7 is most unlike the notes in the blues scale – when you start to outline them you’ll probably recognize the difference since you can’t get that sound in the blues scale.
So with Blues they accent the “minor” or “dominant” feel of the chords. Instead of that, Country accents the “major” sound of these chords. Again, most of that “boogie woogie” rhythm doesn’t include the 3rd of the chord (E and B, E and C# alternating) so the third is up for grabs.
Country really likes the sounds of major pentatonics against a major chord:
1 2 3 5 6
E: E F# G# B C#
Country really likes the G# or the major third of the chord, as well as the 6th – the C# – which is being played in that boogie woogie rhythm.
With this approach, similar to the Dominant 7 approach above, your notes will change with each chord.
1 2 3 5 6
E: E F# G# B C#
A: A B C# D E
B: B C# D# F# G#
This can get tricky if the chords are changing a lot, but your playing country is going to require that you know these 3 scales and how they overlap. At first you’ll hop from scale to scale (nothing wrong with that) but eventually you’ll want to smooth out your transitions the way the pros do and make a melody that fits in the scales as the chords change.
Send any questions or comments my way. You can also follow me on twitter fastfingers76