Blues note in modes

thomasross20thomasross20 Frets: 4423
edited September 2017 in Theory
Yoooo!

So for ages I've always played the dorian mode with the b5 blues note. Or "hybrid" blues or whatever you want to call it. I don't really play pentatonics, it's mainly modes.

So I was thinking, do you really play the b5 if you're playing over Aeolian because it sounds a bit pants..?

Similarly, for the major blues do you add the b3 to the Ionian mode.. and the mixolydian (sounds pants with lydian) or do you use other "blue" notes? I know some folk use b5 in mixolydian but I'm not convinced that sounds right. 

Also... if I play Cmaj and A Aeolian... I know it's the same notes everywhere. 
But if I play D dorian with b5 blues note, that's not the same as b3 of Cmaj or Gmixolydian blues... So different scales - gah. 
I only mention because for yonks I've done dorian blues and not really bothered with major blues, and now I want to, I realise it's a slightly different scale. A (Aeolian) minor blues uses the same blues note as C major blues, though... 

So the ones I think sounds ok (sticking to key of C for now):
C maj blues (blue note = Eb)
G mixo blues (blue note = Bb)
A min blues (blue note = Eb) - meh...
D dorian blues (blue note = Ab)

So for the same group of notes for that one parent key, it's really 3 different scales, if you get my drift. What a pain! 

-> Which blue notes do you add and where? 

Cheers!


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Comments

  • bigjonbigjon Frets: 680
    I like to add the Ab between the G and the A in C major / C dominant. In your scheme that's D Dorian blues but I definitely think C major pentatonic (mixed with C Mixolydian) when I'm playing it.
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  • DanjiDanji Frets: 225
    Yoooo!

    So for ages I've always played the dorian mode with the b5 blues note. Or "hybrid" blues or whatever you want to call it. I don't really play pentatonics, it's mainly modes.

    So I was thinking, do you really play the b5 if you're playing over Aeolian because it sounds a bit pants..?

    Similarly, for the major blues do you add the b3 to the Ionian mode.. and the mixolydian (sounds pants with lydian) or do you use other "blue" notes? I know some folk use b5 in mixolydian but I'm not convinced that sounds right. 

    Also... if I play Cmaj and A Aeolian... I know it's the same notes everywhere. 
    But if I play D dorian with b5 blues note, that's not the same as b3 of Cmaj or Gmixolydian blues... So different scales - gah. 
    I only mention because for yonks I've done dorian blues and not really bothered with major blues, and now I want to, I realise it's a slightly different scale. A (Aeolian) minor blues uses the same blues note as C major blues, though... 

    So the ones I think sounds ok (sticking to key of C for now):
    C maj blues (blue note = Eb)
    G mixo blues (blue note = Bb)
    A min blues (blue note = Eb) - meh...
    D dorian blues (blue note = Ab)

    So for the same group of notes for that one parent key, it's really 3 different scales, if you get my drift. What a pain! 

    -> Which blue notes do you add and where? 

    Cheers!


    I have a couple of Gilbert inspired three note per string blues note things that I’ll put on here this week. I’m currently got me night gown and cap on!
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  • DanjiDanji Frets: 225
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  • vizviz Frets: 10644
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • vizviz Frets: 10644

    bigjon said:
    I like to add the Ab between the G and the A in C major / C dominant. In your scheme that's D Dorian blues but I definitely think C major pentatonic (mixed with C Mixolydian) when I'm playing it.
    This is the most important passing note in a major scale imo. It softens the scale and creates a minor-sounding melody, not only by virtue of being the minor 6th, but also by drawing attention to the A, the relative minor. It acts as a sort of leading note, so emulating melodic minor or harmonic minor as though E were the dominant and A were the minor tonic temporarily. I love it. 
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • bigjon said:
    I like to add the Ab between the G and the A in C major / C dominant. In your scheme that's D Dorian blues but I definitely think C major pentatonic (mixed with C Mixolydian) when I'm playing it.
    OK so C Ionian with Ab (b6) ... same blue note as D dorian (Ab = b5).
    But this b6 in Ionian isn't the "recommended" b3 blue note, interesting.

    C mixolydian = F Ionian. Ab is still b6 but that's now b2 of G dorian so different scales. 

    Must admit the b3 blue note in the mixolydian pentatonic (though I prefer doing it modal...) I find really interesting but I'll try this b6. I've got to be honest, I'm just a lazy b&gger - I'd rather I didn't have to remember 5-6++ different scales.. just trying to minimise what I have to internalise. 

    So E7(#3) in harmonic minor is E,G#,B,D (or G# = Ab) which leads to Am. 
    And in fact that's the same for melodic minor, I just had to write it out. I get you now..


    @Danji so the notes there are A, C, C#, E, F#, G. 
    Looks like A mixolydian with the C# in there, so your blue note is b4 of A? 
    If so, that's also quite different? Sounds great! 

    So we have... recommended b3. b6 as pointed out above. And b4. 
    Lol!!!

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