When dealing with a blues situation, you can generally draw on the Master Blues Scale as a primary source of pitches. Master Blues Scale (Pentatonic Major + Pentatonic Minor) Let’s combine these two pentatonic scales together, and call them something silly, like Master Blues Scale. But actually, you can use both C major and C minor pentatonic scales over the same blues. And in addition they will sometimes encounter licks that use the other pitches we’ve talked about. However, if they use the C minor pentatonic, they will often bend the E♭ up to E, especially over C 7 tonic A word describing the tonal center of a piece of music, with other tones resolving to this note. Most improvisers will use either a C major pentatonic (C, D, E, G, A, C) or a C minor pentatonic (C, D, E♭, G, A, B♭) over the C blues. If we played some of these sounds outside of the blues, they would sound off. What we’ll notice is that the blues structure tends to give us a bit more tolerance for notes that may not fit perfectly. It’s in the I 7 and the IV 7 and it’s not in the V 7 but it’s not one of the “avoid notes” that is a half step above a chord tone. And finally, the B♭ sounds pretty good over all of the chords, too. Additionally, the tone E sounds pretty good over all of the chords, except the F 7. It also sounds okay over the G chord as well, even though it’s a half step above the fifth note of that chord. Let’s rule that out.Īdditionally, even though E♭ is not in the tonic chord, it sounds good because it’s not a half step above any of the chord tones in C. Even though it’s in the scale associated with the tonic chord, it’s what some people call an “avoid note” because it is a half step above a third of the chord and sounds very out. However, the note F itself is not ideal to play over the tonic chord (C 7). ![]() From this we could conclude that the best scale to use with the blues is the major pentatonic built on the IV chord, or the F major pentatonic (F, G, A, C, D) as all of those notes are in every scale.
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