The Blues Scale | You'll Hear It

[@brentwheeler2087]

Four years on this is still one of your best - quite inspired, musically sound and very practical (i.e. I actually use the ideas). Thanks....

[@chriswright2553]

Excellent way of explaining it guys, great vid. I have a slight variation, which is a mixture of major and minor blues that works well for me and I've found easy to convey to people. To get that 'major blues' sound over C7, I tell people to think of it as C maj pentatonic (C,D,E,G,A) - basically the A blues or C maj blues you discussed - and alternate with the regular C blues scale, again like you've outlined. When going to the F7 tho, I like to think of it as a Cm6 chord. As a pentatonic, this would give C, Eb, F, G, A which sounds great as you can stress the A to Eb interval. It's basically the chord notes of F9. Gives you a flavour between the C maj blues and the regular C blues. Easy to teach as you just change two notes (C,D,E,G,A to C,Eb,F,G,A). I know this is nothing new, just a way of thinking about it that works for me. It also avoids playing Bb too much over the F7, which for me loses the sound of the chord a little. I'm more likely to play a B natural over the F7 as I love the sound (which of course ends up being Cm melodic ascending a.k.a lydian over F7, giving you the #11), and it leads your ear back to the tonic. Dunno if anyone's interested, and apologies if they're not.

[@jacobseymour7221]

Exactly! That's what I do, I think C blues and C maj. pentatonic and mix them. And as a pianist I learned that from guitar players. When it comes to modern blues they have the language. I spent a while on KZbin searching "how to play the blues for piano" and only came up with boogie woogie which I hate. When I took "piano" out of the search all these guitar players showed up. From them I learned that language you speak of, mixing the blues with the major pentatonic scale. It took a while to click with me that if we listen to sax players for jazz language why not listen to guitar players for blues language.

[@Breakbeat90s]

PLEASE keep the intro guys!!! its such a good, refreshing and unique idea on how to start the podcast.

[@hunghoangmusic]

Love this series! As a self-taught piano player, this is gold to me! Thank you 🙏

[@SnyderChips07]

Every time I watch one these in bed before going to sleep I always find myself back at the piano. Great show cheers 🎹🎹🎹🎹🎹🎹

[@frankmontis]

Great tutorial! As an organ player I don’t completely agree with the ‘do not use it in a linear way’ though. When you listen to guys like Jimmy Smith, Jimmy McGriff and Jack McDuff the whole The Blues Scale is probably their most used scale, they surely use it in a linear way a LOT, although it seems like they use it in a linear way more on their way down than on the way up. And the ‘secret’ note is used a lot too but more as a slide from the minor to the major third ( which makes it more of a blue note than an actual part of the scale ) .

[@AntKneeLeafEllipse]

As a guitarist, I gotta say that Hendrix changed the way I think about blues. The way he played over Red House in all those live versions really illustrates that the blues is about major and minor living together, especially the marriage of the major 6 to the b7. The other thing I'll say is.... as a beginner, to get some fresh sounds in your ears and to supplement the blues scale, you can designate certain modes to the blues progression. And if you're scared of modes or don't get them, just remember that they are just the major or minor scale with slight alterations. Over the I chord you can either play a mixolydian (major scale with a b7) thing for a major sound, or a dorian thing (minor scale with a major 6) for a minor sound. The IV chord needs you to play the dorian or minor version, and the V chord invites a good old fashioned I major scale. That's something that helped me out a lot as a beginner. I wouldn't be able to keep up with some of the stuff you two play over the blues if I didn't at least know about the I7 IV7 and V7.

[@AntKneeLeafEllipse]

@TacoTacoTacoTaco I was specifically spelling something out for beginners, but I'm always curious about advanced concepts. Can you either explain or make a video on some ways you use all twelve tones in the blues?

[@AntKneeLeafEllipse]

@TacoTacoTacoTaco using chromatic notes as leading tones and grace notes certainly opens up all 12 tones. Bend til you break! But. You can play a blues and lose the blues flavor. If I need grease, I start changing the quality of the 3, and I hit that 6 or that b7.

[@paulclarke8237]

Thank you for this! Amateur saxophonist here, you guys do such great work. I think one problem is that the blues scale is usually the FIRST thing kids are given if they want to learn to improvise. To my mind its most relevant for most students to learn to use the linear scales first. Or even better, learn them all at the same time.

[@SolosHighlights]

This channel should low-key have 1 mil subs.

[@shanghainightflow3039]

Is too much what any musician can do with this wonderful scale, am using it in a way that will keep me busy till end of my life

[@dibblethwaite]

I like to use a blues scale with a chain of secondary dominants type progression. For example you can use a Dm blues scale for the entire middle 8 of I Got Rhythm (in Bb). You have to be a bit careful here and there but it can be very effective. I think I got it from Gene Harris but I can't remember which recording.

[@IRuinEvrything]

thank you guys. you probably hear enough praise because you have chops, but your conversations make it easy for me as a guitarist/bassist turning to keys with plenty of theory knowledge already. Instead of being frustrated with basic pieces from level 1 books, your natural approach to the physical operation of the instrument lets me cheat by getting my fingers in the right place. I've been drilling the chromatic scale in multiple keys for days. =)

[@praxisdev1884]

So many lingering questions answered. Thank you guys, this episode was pure gold. I’m off to practice...

[@stein0niets]

the next secret note, to me, is the A using it together with the Bb (it brings out the slightly lower 7th-harmonic-vibe in the Bb, the kind of extra flat 7th). you can actually hear this harmonic in low tonic notes.

[@stein0niets]

try singing the flat 7 and then lowering it.. its the most blue sounding thing to me. You can (legato/overlap) blur to notes to make it happen on piano.

[@jamestang96]

Using A with the Bb, with reference to which blues scale? The Cm blues?

[@gexydo]

I’m watching this with interest going through a pile of unsalted pistachios. Man, this is an awesome dialogue, both informative and relaxing! 👍

[@bassmonk2920]

Keep up the good fight.

[@carlitoz450]

you guys are always so fun to watch. Fun and relevant of course! Thanks for sharing and please continue your great vids !

[@lounote1]

The best! Tons of great stuff. This particular topic is loaded and you guys made it a blast. Thanks!

[@aleksandarstojceski3139]

Monty Alexander scale!

[@elianmusic7452]

cracked up with the suburban blues bit

[@bluetv6386]

Peter and Adam, thanks for this but re the “Major Blues scale” : I don’t know if they teach it at Berkeley but I don’t think it is such an unusual term. Been playing for 30 plus years and I remember hearing that term when I started. Also Dan Greenblatt’s book on the Blues ScaleS (which was published 16 years ago) uses the same term with some solid examples which I think could support the view that the Major Blues scale goes beyond a simple “add a blues note” to a pentatonic and is also a solid building block of blues playing or blues based jazz standards (section B of St Louis Blues?).Of course there’s various ways of looking at this but thinking of it as a separate scale may help students/players moving away from pentatonic runs and cliches with a blues passing note thrown in. Cheers.

[@thomascordery7951]

Another note that I was taught is the 6th, so in C add the A to that 6 note scale. Then, for those who play instruments where notes can be bent, raising the minor third and minor 7th a quarter tone or so is an option. In particular, raising the minor third a little past that quarter tone brings you into the territory of a third that's a little more of a natural harmonic to the tonic than our equal tempered major third. I find this on bass by playing a double stop (root and major third) in a low register, which always sounds horrible, then flatting that third until it sounds the least horrible. Still not something to play that low but it's how I locate that micro-tonal third. It seems to be 25 or 30 cents flat from the major third. I don't know what it's called (natural tempered?) but I find it a good option to bend up into from the minor third without going all the way to the major. Nor does it have to be OCD-precise; it just adds to the range of microtonal thirds for the player, going from minor to a quarter tone sharp, then through that "natural" third to the major third. Whatever sounds good as you bend it. (Dare I say "You'll hear it"?) Love what you guys do! I've realized very late in life how much value there is to be gained from a familiarity with keyboards. So I'm years behind the technical aspects of what you teach, but I always find valuable insights from your podcasts: tonally, rhythmically and theoretically. Also you're both endlessly entertaining. Thanks so much for doing this!

[@JoelYeoh]

Very nice and awesome blues piano lesson and run-through there! Blues galore here! Keep it coming. 👍🎹🎶😄

[@iloverumi]

more blues- yes!

[@ΕυηΑκριωτη]

So rare to be funny ,but also so effective at the same time!

[@MeteCanKarahasan]

Damn, that is a smart looking shirt Mr. Martin!

[@bigPianist99]

Please do a Solo Analysis of a Keith Jarrett Standard, I would really appreciate it!! Maybe Late Lament? I would love to hear your analysis!

[@jonathanmurrell5801]

I’d really like to see more discussion on using the blues scale in bebop. Any suggestions for that?

[@felfion]

This channel is gold

[@peterbodofsnik9429]

Man. I love you channel

[@DonyaLane]

I love that you guys drink Spindrift! Super clean beverage!

[@El_Rebelde_]

the major blues scale opened up my musical mind just now. and the secret blues scale too. im just confused why you "cant" use the f blues sclae over f when going from C7 to F7. also im subscribing

[@LasseBoogieJensen]

Pretty much anything is possible if you execute it correctly.. I'm primarily a boogie woogie piano player and there we always play the "key" that we're on.. If we're in C, then there are almost 3 tonic centres; C, F, G.

[@AnalyticPiracy]

The best scale around

[@SaltyMusicOne]

This **** at the end is hysterical - good episode

[@maltebechtold6488]

Didn't you say you wanted to say some more stuff about when it's ok to use the different blues scales of the chords? Or did I miss that?

[@nixonkutz3018]

"look at the way your hips are moving" OMG too funny

[@clintjones9848]

If you hop along to anything it's gonna sound lame. LMAO.

[@maloneycraig]

I'm just a clueless newbie, but I have been thinking about the major blues scale as just being the first mode of what you guys call "THE" blues scale and I've heard other people studiously refer to as the Minor blues scale. FWIW

[@PIANOSTYLE100]

I like that theme song. I like to play the blues and going more to jazz blues progressions. I also play some bluegrass guitar.. I was giving a lesson on the famous G run lick made famous by Lester Flat. Iit came from the E blues scale. E( G A Bb B D E). But guitarist play it in G. I also use it when playing piano G blues. Essentially it has a real cool sound. As I play the chords I like to think of the instaneous chord's being formed.G7 with and E is G 13. The A in a 9, Bb is a # 9.. But the magic happens on C7 with the G# (+5) The D7 chord has some neat stuff going on too. Of course the tritone sub for D7 is G#7 Notes of Ab7..I'll do it bother ways ..(Ab C Eb Gb) or G#7.( G# B# D# F#). That Ab7 or tritone sub against the E blues makes instantaneous chord's Ab7#5.. Ab7b9, Ab7b5. Texting on a small phone hope no mistakes.

[@hansheld467]

Haha, the chromatic scale joke made my day. Thanks for that!

[@abhinavkhokhar362]

What tune does Adam play @13:48 , THANKS IN ADVANCE :)

[@charlierank744]

Time After Time :)

[@federicomelo1853]

What was the tune that was played at the end of this lesson today?

[@musiccreation1198]

Excellent as always,

[@AntKneeLeafEllipse]

The blues has never been about what's legal

[@crimsonfutureg5639]

Hey, what are YOU doing here?

[@AntKneeLeafEllipse]

@@crimsonfutureg5639 moonshinin doggie!

[@caetanobartholo5569]

"oh you like that? you like that, big guy????" 17:55

[@RHCPfreak98]

Lollll 🤣🤣🤣🙈

[@jeffreydelisle7337]

Sorry guys. This was not one of your better efforts. There is some important content in there but you didn’t explain it as well as you might have. This advanced intermediate player would have benefited from more specific examples or perhaps a PDF summary. Hey I love open studio and will keep coming back. I’m just being honest about this one

[@radeum1010]

Altho I am an avid lover of the piano but not quite where you are on the technique side of things 🙄 I find it easier to dumb down some of your run through of whatever it is you are discussing sometimes to .75 in the settings. just to not have to frustrate myself needing to go back a few times. I get that it's conversational and not 'tutorial' as such but...it's just a comment as the heading says. But you are great..sometimes a little 🍄but that's what makes it interesting too.

[@nickrees4706]

“using the blues scale in a pentatonic way”. A lot of times I feel like this great content is going over my head 🤯Not sure what you meant by that but if I look at C blues scale (no secrets), I think that’s Eb pentatonic with a flat 3. If I am attempting Ain’t Misbehavin in Eb, I find I am using those notes a LOT. So am I playing C blues scale or Eb pentatonic with flat 3? Like you say the scale works over a lot of chords so for me it becomes a case of, how do I NOT play these notes and play something else? 😀. Many thanks for this terrific channel!

[@Dr_Dimly_Litroom]

There's two different things going on here. Eb Major pentatonic and C minor pentatonic are the exact same notes. In the case of F# in C blues, the F# is just a chromatic approach that you could do to any note in any key/mode. For example in Eb major (with the triad Eb G Bb) you could play D to Eb, F# to G, and A to Bb. It's just become such a popular sound that the Minor pentatonic with b5 has kinda become an iconic "scale" in popular music. Conversely you would likely use that b3 in Eb because you're superimposing an Eb min pentatonic sound over the Eb major (also very common). Or you could think of this as using the relative minor blues scale over the major 1 (like they demonstrate with A minor blues over C major). You can pretty freely use any combination of Eb minor pentatonic, C minor pentatonic (which is the relative minor), and Eb major pentatonic over that Eb major chord, and you'll find that they all share a lot of the same notes. At the end of the day its just notes being pulled around beautifully and us using these different devices to guide ourselves toward melodic freedom.

[@Dr_Dimly_Litroom]

When he says "using it in a pentatonic way" he means that the C minor pentatonic and this C "blues with extra notes" have all the same notes, but the "Secret" scale has an added E natural and F#. The straight pentatonic is often associated with a very modern sound (think Mccoy Tyner) and often lends itself to these angular open sequenced sounds like Peter plays at 5:16. Here he hits a left hand bass C then a C and Bb while his right hand plays this repeating pattern of C G Bb F, G Eb F C, Bb Eb C Bb G, then when he goes down to the F he starts reintroducing these "extra" notes (F# and E natural) to leave the angular open sound and make it bluesy and inviting again. If that's confusing I'm completely willing to write something out and send it over to clarify.

[@petewiseman]

Nice. Making my brain to raise its game. Wouldn't the Major Blues be Eb rather than A??

[@jazzyoutfit6670]

hey guys, i don't agree with you on the significance of decent fingerings for the blues scale for scale-wise motion. of course, with the blues scale it's no different as with ANY scale: just running it up and down is not music! but you'll have to be able to get through the octaves without stumbling over your fingers. so here are my right hand fingering suggestions for all keys (minor blues scale 1 - b3 - 4 - #4 - 5 - b7 - 1): C: 1, 2, 3, 4, 1, 3, 1 F: 1, 2, 3, 1, 2, 3, 1 Bb: 1, 2, 3, 1, 2, 3, 1 Eb: 1, 2, 3, 1, 2, 3, 1 G#: 4, 1, 3, 1, 2, 3, 4 C#: 3, 1, 2, 3, 4, 1, 3 F#: 3, 1, 2, 3, 4, 1, 3 or 2, 4, 1, 2, 3, 1, 2 B: 2, 4, 1, 2, 3, 1, 2 or 1, 2, 3, 1, 2, 4, 1 E: 1, 2, 3, 4, 1, 3, 1 A: 1, 2, 3, 4, 1, 3, 1 D: 1, 2, 3, 4, 1, 3, 1 G: 1, 2, 3, 4, 1, 3, 1 note: i generally prefer 1, 3, 1 over 1, 2 , 1 as this allows more independant movements of the fingers. best, andy

[@brendaboykin3281]

Thanx, friend.

[@RogerLato2]

Thanks again!

[@brendaboykin3281]

Thanx, Gents.

[@markfretless]

AIGHT😂✌🏾🍷

[@GizzyDillespee]

15:13 Does your town have a style of BBQ named after it? If yes, then you live in a blues town. Not all blues towns have their own BBQ, but all towns that have an official BBQ, that outsiders also crave, are blues towns. States, too... for example Texas, and North and South Carolina both have Piedmont Roll, but I give it to North Carolina, because absolutely no outsider would consider that mustard stuff from South to be edible, never mind BBQ. Just some silliness so that maybe the algorithm notices the channel, even though it's an old video. These older videos are just as relevant as the new ones.

[@GizzyDillespee]

OBTW I totally disagree about thinking melodically in terms of the IV chord when you jump to it. But you're right, it's got to be a certain way... like a vocalist, really. But when I do that, there becomes a tendency (for me, at least) to pull into the "flat 6 blues" which is more like adding bluesy elements to a "magic and mystery" vibe... and that particular set dressing is carved from cheese log, so buyer beware.

[@jonasaras]

I can’t recall Bud Powell ever using a blues scale on the blues

[@LasseBoogieJensen]

I've also never heard Bud Powell play a standard 12 bar blues.

[@bigaldescendedmaster1936]

Please, please, please consider Barry Harris' statement "there is no such thing as the blues scale...there are just funky notes." Theory comes after practice. Bach did not follow the rules in my green counterpoint book. the rules came much later. OUCH

[@thomascordery7951]

Yeah. What would Robert Johnson say?

[@nicscott8560]

Donna Lee was written by Miles tho... someone screwed up at the label. But AWESOME video!

[@alfiecoates1]

Miles claimed he wrote a lot of things 😅

[@alanhowell3646]

@@alfiecoates1 absolutely

[@alanhowell3646]

There is no evidence of that, just a claim by Miles and Parker wasn’t around long enough to dispute the claim.

[@fazeelkhaleel9827]

Gm blues on Cm what do you called that ?

[@Ecaroh74]

term ”Major Blues Scale” is logical for several reasons: We allready talk about major and (its relative) minor. C major and A-minor scales, same notes We allready talk about (major) pentatonic and minor pentatonic. C-pentatonic and A-minor pentatonic, same notes So why not talk about Major Blues and Minor Blues? C major blues and A minor blues, same notes Also, using ”C major blues” over C-blues gives us a in my opinion correct view of tonic. Using ”A blues” over C-blues is kind of confusing.

[@Ecaroh74]

TacoTacoTacoTaco Of course in real life you mix all those things and add some extra notes like B natural in C-Blues (like Adam suggested). Nobody is saying that you should use C-major / C-minor blues alone, at least very long in your solo. But in my opinion those are good concepts to understand and analyze blues phrases. Quite many licks fall into one of these. Also, many phrases use both. It’s also good to pick up one of these and see what you can get out of it and then move to next. I am not a big fan of these combined blues scales as a starting point. And like Peter said, when you add this and that, quite soon your blues scale is 12 tone chromatic scale. So why don’t you take that cause in real life that’s your ”Blues scale”?

[@clintjones9848]

Lol yeah you 'can't' ever move the bluez scale to the 4 chord. Cuz we're such authentic bluesmen lmao. I thought this was a jazz channel? You use different scales on a jazz blues, you don't only play the blues scale off the 1 chord. And what is this you shouldn't play the blues scale in a linear fashion? It sounds great like that! AND what is this secret blues scale business?? It's about juxtaposing the blues scale with mixolydian! Come on people! However, good job on demonstrating the concept of using a blues scale a minor third down and it ends up major over the chord.

[@borriskarlov8140]

IV Blues on the V7?

[@PublicEnemy1337]

oh i've been hearing this one...

[@bluesroad9606]

Make vídeo on Double Stops in Blues!

[@jv2jfo]

They already did: kzbin.info/www/bejne/gaXRp3-Qaryeb6c

[@bluesroad9606]

@@jv2jfo Nice!!!!!

[@Daboy2code84]

What piano do you guys use? And would do a review on it?

[@lifeismusic9411]

Did you ever figure this out? I think it’s the M-Audio Hammer 88 ( not pro version ). $500 midi controller. Which now begs the question of what library are they using for the piano sound?

[@DrJoshGuitar]

That first lick sounds like the opening of “Pleasure” by Ohio Players ;)

[@wisegamer706]

Fuckin love these guys

[@LowKeyTired-q7d]

Gems

[@coffinman5007]

David Sanborn in the 80s was the ultimate king of the blues scale. He threw in all kinds of intervals when he was playing 8 notes per beat and every one sounds deliberate and even necessary. kzbin.info/www/bejne/bZvMdpanp82nn7s It's a unique sound.

[@jesspittard4435]

what would Mozart, Bach, Ludwig comment if they saw this video ?????

[@sheilamacdougal4874]

Showing some figures slowly would have been helpful.

[@juwonnnnn]

👍

[@sivertbernlind9877]

genius talk?

[@johncracker5217]

Major blues scale is basic shit for us harmonica players

[@Neromatter]

hey nice april fools joke on your most recent podcast!

[@charlessci8464]

heah no reason to insult people. I am 50 years old and still sound like your suburban chump

[@thinktwice4565]

How can you guys criticize Oscar Peterson. - man -

[@TheAaronRodgersTao]

You guys are great, but it’s really lame how you look down on lesser musicians, and of course you’re gonna say your not. But your attitude in multiple instances on your podcast would suggest otherwise. Yeah, we get it! You’re both ridiculous musicians and you know vast amounts of shit more than the average musician. Great. Most people can see that.

[@JulianDiaz-Tpt]

TheAaronRodgersTao it’s called having a sense of humour.

[@TheAaronRodgersTao]

Julian Diaz that’s right. Just the sense of humor that makes a ton of people back out of evening wanting into a career in music, especially in the jazz world. I suppose you love that sense of humor since you’re in deep, but a lot of people can’t stand this kind of smarminess. Best to you though.

[@JulianDiaz-Tpt]

@@TheAaronRodgersTao I find it funny no matter what th context. I bet if you saw these kind of remarks in a different setting (non musical) you wouldn't mind. These are 2 adults sharing invaluable, very well presented and for FREE. Too many people take this for granted nowadays. If added to that you can't see that they aren't making fun of anyone, just having a bit of a laugh, then maybe you should reapraise your sense of perspective. Do any of you have any idea how much it would cost to receive a practical theory lesson from 2 Pro players like this? You're looking into high double figures. Get a grip people.

[@TheAaronRodgersTao]

Julian Diaz I very much value the free knowledge they are sharing. That’s why I’m subscribed and have thanked them for what they do many times. But put yourself in the shoes of an insecure teenager that has problems at school with self worth. He/she just learned the blues scale thought maybe they’re doing something right. Then these guys come along and at the expense of people that know far less about music than they do start having a laugh about how silly they sound when they ‘don’t use the blues scale ‘properly’’. It’s a bit of a sore spot for me since I was that kid in high school that was very shy and had to fight smarmy attitudes like that all the way through college because at some point people at the top of the jazz food chain thought it would be ‘funny’ to put those lesser musicians in their place. I get it that you probably never saw it that way, but can you at least take my word for it that MANY musicians that you certainly have never played with before did, and are not in the community for that very reason? If so, I too can try harder to see it your way that yes it’s just a joke. Ok. We’re really on the same side here. We all love this music.

[@dmmurray9422]

Great insights, poor illustrations. Lose the button down shirt. Not a fit, or fashion