The Blues Scales Dan Greenblatt Pdf Download 'LINK'

THIS GROUND-BREAKING BOOK/AUDIO package will show you (or your students) how to use the Major and Minor Blues Scales to improvise meaningful solos without having to first master all the scales and chords of a tune.

I started the book "The Blues Scales: Essential Tools for Jazz Improvising" by Dan Greenblatt as my introduction to jazz. I was immediately struck by the distinctive sounds of the Blues scales. Did any other world cultures or musical groups ever stumble upon these sounds and noticed how bluesy it sounded?

The Blues Scales Dan Greenblatt Pdf Download

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The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. A blues scale is often formed by the addition of an out-of-key "blue note" to an existing scale, notably the flat fifth addition to the minor pentatonic scale. However, the heptatonic blues scale can be considered a major scale with altered intervals.

The first known published instance of this scale is Jamey Aebersold's How to Play Jazz and Improvise Volume 1 (1970 revision, p. 26), and Jerry Coker claims that David Baker may have been the first educator to organise this particular collection of notes pedagogically as a scale to be taught in helping beginners evoke the sound of the blues.[4]

In the Movable do solfge, the hexatonic major blues scale is solmized as "do-me-fa-fi-sol-te"; In the La-based minor movable do solfge, the hexatonic minor blues scale is solmized as "la-do-re-me-mi-sol".

An essentially nine-note blues scale is defined by Benward and Saker as a chromatic variation of the major scale featuring a flat third and seventh degrees (in effect substitutions from Dorian mode) which, "alternating with the normal third and seventh scale degrees are used to create the blues inflection. These 'blue notes' represent the influence of African scales on this music."[12]

Hit songs in a blues key include, "Rock Me"..., "Jumpin' Jack Flash"..., "Higher Ground"..., "Purple Haze"..., "I Can See for Miles"..., "After Midnight"..., "She's a Woman"..., "Long Cool Woman in a Black Dress"..., "Pink Cadillac"..., "Give Me One Reason"..., and many others.[13]

In jazz, the blues scale is used by improvising musicians in a variety of harmonic contexts. It can be played for the entire duration of a twelve bar blues progression constructed off the root of the first dominant seventh chord. For example, a C hexatonic blues scale could be used to improvise a solo over a C blues chord progression. The blues scale can also be used to improvise over a minor chord. Jazz educator Jamey Aebersold describes the sound and feel of the blues scale as "funky," "down-home," "earthy," or "bluesy."[14][page needed]

This ground-breaking Book/CD package will show you (or your students) how to use the Major and Minor Blues Scales to improvise meaningful soloswithout having to first master all the scales and chords of a tune.Good for All Levels - Essential for beginners, perfect for intermediate students, and even useful for professional players to hone their skills on this crucialand often neglectedpart of the jazz language.Accompanying CD by author Dan Greenblatt and his quartet of swinging, New York jazz musicians shows how each exercise should sound. And it also gives the student numerous play-along tracks to practice with.Great Transcriptions from Miles, Dizzy Gillespie, Lester Young, Oscar Peterson, Dave Sanborn, Michael Brecker and many more, showing how the Blues Scales are actually used in various styles of jazz.Features:- Step-by-step exercises to get beginning students able to quickly solo using the two basic Blues Scales - Extensive dictionary of classic Major and Minor Blues Scale phrases - Help with transposing the ideas learned into other keys - Numerous ways to expand the Blues Scales to make them even more useful - Appendices for advanced players showing how the masters of jazz use the Blues Scales in their own playing.- Available in C, Bb and Eb Versions.THE ONLY COMPREHENSIVE BOOK ON THE BLUES SCALES EVER PUBLISHED!

My personal approach to improvising over blues scales is to rely heavily on the key's minor pentatonic and blues scale, while adding in chord tones from the IV7 and V7 chord where necessary rather than using the other extensions of the scales that you would normally play over those chords (5th mode harmonic minor, etc) which can sound a little strange because they sound like they take you into other keys (bVII major over the IV7 chord etc).

If you are going down a slightly jazzier path, you can implement whole half and half whole diminished scales over the chords and as long as you end up resolving onto a chord tone of the current chord (I III V or VII normally, often the major 9th as well) you can get a pretty good sound.

Another thing to note is that you can basically play anything you want to on a blues as long as you take the above note into consideration, end up in the right place and play it with feeling. After all, blues songs are all about the feeling (not the complication of harmony).

You could call it a V-V-V with key changes, a IV-IV-IV , or whatever. The fact is that in a blues progression there are no key changes or modulations in a particular verse. The chords are related to each other,so in key A, with I, IV and V, it becomes A, D and E. Blues traditionally uses dominant 7th chords to get the 'feel', rather than a 7th just on the V chord as in most other styles of music. The 7th on the IV chord is probably the most telling, as it sounds like the music is going to modulate, but of course, it doesn't. Using Amin. pent. notes will also give a min 3rd against the maj.3 of the given chord. This again is the essence of the blues - although often that particular note is bent up to sweeten it, or not, as the whim takes.

It is just common practice to call a blues with chords I7, IV7, and V7 a I-IV-V blues, simply because the chords are built on the first, the fourth and the fifth note of the (mixolydian) scale starting on the I. And it is understood that all chords are dominant-seventh chords (unless you're playing a minor blues).

There are in fact lots of scales that can be played over a I-IV-V blues. It is not wrong to play minor pentatonic scales with roots I, IV and V over such a progression, even though especially on the IV chord it can sound a bit strange due to the b3 of the IV chord (which is the b6 of the I chord). Another straightforward choice is the mixolydian scale, again with roots I, IV, and V, depending on the current chord. And every time a chord can be interpreted as a V-chord for the next chord, alterations can be added (e.g. by using the diminished half-whole scale or the altered scale). And also don't forget the major pentatonic scale, which also works great over the blues!

Because the way blues works is that the I7 is treated as a tonic, even though it's not tonic in the normal sense. But the V7 > I7 helps to reinforce that it actually is a tonic chord in the overall progression, because a V7 always has a dominant role, regardless of whether it resolves to a I7, Im7, Imaj7, I6, or whatever. Another way to look at it, is that you are constructing a I IV V, except instead of major chords, you're doing chord substitution on each.

To learn how to improvise on the basic blues, the best place is Dan Greenblatt's book "The Blues Scales: Essential Tools". In the first chapter he has you using I major blues scale on the I chord, and using I minor blues scale on the IV7 and V7 chords. Then, he expands on this later on and adds some additional things.

On a 12 bars blues in A, you can play A minor pentatonic or blues scale trough the whloe blues, once you are confident with that you can play A major blues scale(same notes as F#minor blues scale) over the I7 chord and and A minor blues scale over IV7 and V7 chords is a great way to start geting more sounds into the blues. After you can switch between those two scales you can combine the notes of the 2 scales.

by Dan Greenblatt

This ground-breaking 80 page book/CDpackage will allow you or your students to use Blues scales to createmeaningful solos before you master all the scales of a tune.Perfect for beginners and intermediate players, this methodcontains numerous transcribed examples from Miles, Dizzy, Prez, OscarPeterson, Dave Sanborn and others, demonstrating practical"real world" uses in various styles of jazz. The CD includes ajazz quartet of New York musicians demonstrating how to usethe exercises and also includes plenty of play-a-long space. Themost thorough blues method on the market! Available in C, Bb, Eb, and Guitar versions. be457b7860