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Open Pentatonic

Blues Slide Rule

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Learning to play the Blues     For Guitar Teachers and Students

Jam - Room

INDEX

CTB Index

ABOUT

MODULE 6

PAGE 1

M6 - Project  1 - The Mixolydian Scale for Blues   

A great scale to work with the Pentatonic Patterns

E - GAIN MASTERY OF THE SCALES

There are 12 CTB Blues Bop files One for every Key

You want to be able to play comfortably all the Scales learned so far and any other riffs you develop in every Key on the Guitar neck


Just play through all the Videos just practise and play around, experimenting


Do this a little every day, creating new ideas for yourself in any and every Key


(Do not rush this, take your time)


F - MORE VIDEOS HAVE BEEN ADDED IN THE JAM-ROOM


More videos have been added to the Jam-Room but my advice is master first the basic CTB Blues Bop files in all Keys with all your new Scales then try some of the other chord progressions in the Jam-Room

G - LET US LOOK AT THIS MIXOLYDIAN SCALE


       The Scale Formula for a Mixolydian Scale is 1-2-3-4-5-6-b7-1

       And the Formula for a Dominant 7th Chord is 1-3-5-b7




A - The Mixolydian Scale over the Dominant Seventh Chord

        A Dominant Seventh Chord is another term for any 7th Chord eg. A7 - D7 - E7 etc…


Time to increase our ability

To handle any type of chord progression we need to build our knowledge of scales

We have already covered


       Remember The Major Scale is the Key to Music, know this scale by heart


       Now it is time to look at a very important scale especially for blues



If you know your Major Scale pattern then this Mixolydian Scale is very easy to play


D - Now Combine and Use all the Scales Learned So Far


       Go to the Jam-Room and start experimenting, using all of these scales learned so far

       I suggest using the chord progression CTB Blues Bop in A Tempo 120



       The A Mixolydian Scale will work best when starting the A Mixolydian Scale run on the A Major chord        moving into the A7 chord


       Try using the A Minor Pentatonic first all the way through the chord progression, then the F# Major        Pentatonic the second time, then combining the A Mixolydian and A Major Scale the third time to get        an idea of the distinct difference in feel you can create


       Then just mix and match any and all scales, experiment, have fun

G Major Scale

G Mixolydian Scale

Use the 1st and 2nd fingers for the notes on the Top E string

B - Compare the two Scales and Know them Well

There is only one note difference between the Major Scale pattern and the Mixolydian Scale

C - Now Practise the Mixolydian Scale

Play the G7 Chord and play the G Mixolydian Scale you can hear how the two work really well together

Now Play the A7 Chord and play the A Mixolydian Scale (This is the same scale but two frets up the guitar neck, starting on the 5th fret)  Again you can hear how the two work really well together

Practise this Mixolydian Scale Pattern all over the neck of the Guitar

G 7 Bar Chord A 7 Bar Chord

A Mixolydian Scale

A Mixolydian Scale and A7th Chord superimposed over the Mixolydian Scale

See how the 7th chord is made up from notes of the Mixolydian Scale?

So as 7th chords are very common for Blues this allows for the Mixolydian Scales to be used too

If you have a Blues in the Key of A then the A Mixolydian Scale could be used

If you have a Blues in the Key of G then the G Mixolydian Scale could be used

If you have a Blues in the Key of Bb then the Bb Mixolydian Scale could be used etc…etc… along with all the other scales covered so far

Also this does not just apply to the Blues, all this information can be applied to any type of music