One of the big differences between a good blues player and a blues player that sucks is the sound of the scales. There is a distinct pattern to the style of fair-to-middlin’ players. It is a natural sound, reflecting the fact that they are still playing the scale rather than the notes. The rhythm is too regular and the pattern of notes too repetitive. “This” note always follows “that” note because it is the next note in the scale or it’s on an adjacent string. The trill always happens on “these” notes because they fall a fret apart, under the first and second finger, which are stronger than the ring and pinky so they trill better.
10-yr-old
Sounding like that is a natural biproduct of learning the scales the way we do. We all did it. At some point we sat down and learned the patterns and played them up one side and down the other until they became second nature. We move them around and plunk, plink, plunk our way up and down the scale “playing lead.” That isn’t a solo. You know it and they know it and it is a frustrating habit to break.
Playing knowledgeably “without thinking” is what makes the difference. You are thinking too much so stop it, just stop. Let’s Assume you have learned all 5 positions of the blues scale. How do you know when to use which one? How do you switch between them? When do you switch between them? Which notes can you bend and how much can you bend them? How do I get those cool runs that go all the way up the neck and back down, landing on the root at just the right moment?
Well let me tell you. It is easier than you think. Let’s start with the Snake Scales. I’m sure there is another name for them but who cares? They snake up the neck connecting everything together. They are portable scales; to change keys simply move the root. The pattern remains the same. So how does learning another pattern help take away the patterns? It connects the positions so that you can play in one, move effortlessly to another and play there, then back again or up to another. They also repeat, so you can keep going past the 12th fret and wear some of the lacquer off the top end of your neck for a change.
The Snake Scales are actually made up of a few notes from each of the positions. The notes are exactly the same as the notes in one position. You can, of course, use this as a regular blues scale and it will sound cool. The coolest thing about it happens when used on top of the standard positions. The slides happen in logical places and the pinky, which is usually the weakest finger, is barely used at all.
Now here is the first trick. Once you learn both snake shapes you can use the “relative” shape as well.
Without getting into too much theory, understand this: for every major scale there is a minor scale that uses the exact same notes and shares the “Key Signature.” To boil this down to the basics, you can play the major shape 4 frets higher than the root note. So, for our example, in the key of G you play from A#. The minor shape connects the lower scale positions and the “relative major” shape connects the top.
Learn all 5 positions of the blues scale inside-out sideways, backwards and upside down. (shown here in the Key of G)
Learn both positions of the snake scales (Minor Pentatonic Major Pentatonic).
Forget all positions of the scales and just see all the notes. See each note, young Grasshoppa’ as one of many.
Stop thinking.
Play with your eyes closed.
Play a lot with anyone, anytime and for any reason.
Play some more!
Play with the radio or the blues channel on TV.
Play every day, even just a little.
Learn and practice these scales and next time I’ll show you how to shake the patterns and use the snakes to take your playing up a notch. Soon you will no longer suck at the blues. Stay tuned.
UPDATE: