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The blues scale is so named for its use of blue notes. Since blue notes are alternate inflections, strictly speaking there can be no one blues scale, [8] but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C E ♭ F G ♭ G B ♭ C. [9] [10] [11]
A major feature of the blues scale is the use of blue notes—notes that are played or sung microtonally, at a slightly higher or lower pitch than standard. [5] However, since blue notes are considered alternative inflections, a blues scale may be considered to not fit the traditional definition of a scale. [6]
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual 15 equal temperament: 15-tet scale on C. Play ⓘ — — — 15 — — — 16 equal temperament: 16-tet scale on C. Play ⓘ — — — 16 — — 17 equal temperament ...
The blue notes are usually said to be the lowered third, lowered fifth, and lowered seventh scale degrees. [1] [2] [3] The lowered fifth is also known as the raised fourth. [4] Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of ...
The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
The Nashville Number System is a method of transcribing music by denoting the scale degree on which a chord is built. It was developed by Neal Matthews Jr. in the late 1950s as a simplified system for the Jordanaires to use in the studio and further developed by Charlie McCoy. [1]
Music journalist Richie Unterberger commented on the adaptability of blues: "From its inception, the blues has always responded to developments in popular music as a whole: the use of guitar and piano in American folk and gospel, the percussive rhythms of jazz, the lyrics of Tin Pan Alley, and the widespread use of amplification and electric ...