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Sonny Jenkins


From:
New Braunfels, Tx. 78130
Post Posted 4 Oct 2013 6:11 am     Reply with quote

It is my understanding that, among "bluesmen", the rule of thumb is "I is major, IV and V are minor". Or actually I is choice between maj or min,,,but most typically major. Actually there is a lot more to theses scales than this,,,also Jeff (the orange notes)had some optional notes that I didn't include. Reece's scale (the blue notes) is complete.

Some more insight to these scales would be to consider Hal and Weldon's 3 string, 2 finger, 1 pedal "speed scale" that was also demonstrated to "fit" and be played over 10 or 12 different progressions. Yes, there is more to these scales than is being discussed.
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Gene Jones


From:
Oklahoma City, OK USA, R.I.P.
Post Posted 4 Oct 2013 8:53 am     Reply with quote

In 1949 I discovered the relationship of the B6 tuning to the E9 and have used it ever since. It's relationship to E9 is indisputable. If you have doubts, please check the Universal tunings?
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Mark van Allen


From:
Watkinsville, Ga. USA
Post Posted 4 Oct 2013 9:12 am     Reply with quote

Cool clip, Stuart. I was tickled to see my oft-times bandmate David Blackmon in there with his usual inscrutable faces.
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Stuart Legg


Post Posted 4 Oct 2013 10:02 am     Reply with quote

That Hal & Weldon 3 string thing was all Major scale.
However you could just drop the whole thing down 2 frets for the minor scale version of that 3 string thing.
For instance if you were playing a blues in C you could play the 3 string thing in Bb over a whole song or switch between the C 3string thing and the Bb string thing as per my chart of the blues.
Substitute the C 3 string thing for the C major blues and the Bb 3 string thing for the C minor blues. Note this is exactly the same principle as the opening topic post chart.
The theory is that this Cm is the Dorian scale of Bb which means Cm scale will have the same notes as the Bb major.
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Sonny Jenkins


From:
New Braunfels, Tx. 78130
Post Posted 4 Oct 2013 1:33 pm     Reply with quote

Actually part of the depth of this is the number of diverse progressions they will all fit over,,,both these scales AND Hal and Weldon's thing. We're all aware of how/why they fit a simple 12 bar blues,,,but that just scratches the surface. Seems like now that I've started looking I wake up everyday with some new insights..
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Stuart Legg


Post Posted 5 Oct 2013 2:46 pm     Reply with quote

Folks catch on quick here on the Forum.
I've only been posting here for a short time and now everybody already knows everything Laughing

Every one thinks they know that there are no live dinosaurs left in the world but Bo is the only one that knows for sure since he killed the last one!
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steve takacs


From:
beijing, china via pittsburgh
Post Posted 13 May 2017 11:52 pm     Reply with quote

This is too Good to be hiding. Bumpo. Steve t
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John Goux


From:
California, USA
Post Posted 15 May 2017 10:01 am     Reply with quote

This is your week 2 lesson on a guitar.
These notes are ubiquitous in blues, jazz, country music. All instruments in western music use these notes.

What strikes me, is how visually convoluted this easy pattern is, for steel guitar tunings. And you only get about an octave range before the pattern gets even harder.
The fact that Buddy would called it a "snake" pattern illustrates this. That some experienced and talented people are here discussing it Is striking. This is real simple stuff on other instruments.

That's the wonderful instrument we play. One of the things that sets us apart.

So here is an easy version of these notes in E9:

Fret 10, engage B pedal. Play downward strings 5 thru 11.
There is your Ami blues, or Cmaj blues/pentatonic scale.

Enjoy, john
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Herb Steiner


From:
Spicewood TX 78669
Post Posted 15 May 2017 10:31 am     Reply with quote

Good information here. Learn the scales and rules as given and use as a basis, but don't get 100% locked into "rules" per se.

In live action, there are no incorrect notes, just incorrect emphasis. All the notes in a chromatic scale can be played over any chord; what makes the note right or wrong is how emphatically the player voices it and how glaringly the audience hears it.
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Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?
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Marty Broussard


From:
Lake Charles, Louisiana, USA
Post Posted 15 May 2017 11:01 am     Reply with quote

This was a good one to start Sonny!!
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Marty Broussard-Steel-Guitarist for Tracy Byrd
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"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin

"The music business is a cruel and shallow money trench,a long plastic hallway where thieves and pimps run free,and good men die like dogs-there's also a negative side."
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