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Track 47
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Figure 8-10:
The major
third added
to the blues
scale.
152 Part III: Beyond the Basics: Playing Like a Pro TEAM LinG
= sweet note: G
0 0
T
3 3 0
A
B
2 0
1
0
0 3
Another sweet note is the major sixth of the I chord (C# in the key of E). In
Texas-style blues, it’s quite common to hear the major third and the major
sixth used in conjunction with each other. The major sixth has another bonus
function: It is also the major third of the IV chord (C# in A).
The principles applied in matching up the notes of the blues scale with the
major 3rd of the I chord also apply to the IV chord, A. The notes of an A
major triad are A, C#, and E. The notes A and E (the one and the five of the
chord) are already in the E blues scale (E, G, A, B%, B, D). The major third, C#,
is a half step away from the D in the scale. So the C# adds a half-step-away
alternative for the blues-scale D that clashes with the A-chord C#. Plus, the C#
sounds so good against the E chord anyway, so it’s doubly supported as a
sweet note.
Figure 8-11 uses a C# as both a sweet note over an E chord (the I) as well as a
chord tone (the major third) in the A chord. This variation is typical of leads
that use the sixth (C#); the major third (G#) is also included.
Other chord tones appear in lead guitar passages (see the solos in Chapters
11, 12, and 13), but the major third and sixth (which does double duty as the
major third in the IV chord) are the most important notes to incorporate after
you master the blues scale. These added sweet notes, along with others, will
help you break out of the proverbial box so that you don’t have to rely on
just the blues scale — or any scale — to play from your heart. The entire
musical alphabet can be your palette.