In our previous two lessons, we investigated a variety of ways in which to include the major third as an additional note within the structure of the E...
In our previous two lessons, we investigated a variety of ways in which to include the major third as an additional note within the structure of the E blues scale (E G A Bb B D), as a means to broaden our scope for melodic soloing.
We began by doing this in second/third position, then moved up to fifth position. This month, we’ll ascend to seventh position, and I’ll present a 12-bar slow blues solo using this fretboard pattern.
To review, the blues scale is intervallically spelled 1 b3 4 b5 5 b7. The major third of E is G#, and adding this note to the E blues scale results in the note sequence E G G# A Bb B D, which gives us the interval spelling 1 b3 3 4 b5 5 b7. A chromatic row now exists between the minor third, G, and the fifth, B: G G# A Bb B.
FIGURE 1 illustrates the E blues scale plus the major third played in seventh position, both ascending and descending. On the way up, I sound the major third, G#, by bending the minor, or “flatted,” third, G, up a half step. In the second octave, and also in the descending form, I fret the G# normally, as an unbent note. Keep in mind that you can convey the sound of the major third using either approach, and bending strings is an essential expressive technique when playing a blues solo, so try using both approaches.
FIGURE 2 presents an original 12-bar blues solo in E, played over a slow 12/8 (triplet-feel) groove and restricted to seventh position. Confining yourself to a single position like this across an entire 12-bar solo forces you to choose your notes and craft your phrases more carefully than if you give