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IF THERE’S ONE FISTFUL replacing every D with a C#, as
of notes that never gets shown in Ex. 1b. Play through this
old, it’s the blues scale. mutated blues scale a few times,
Once it finds its way into the and see if you can come up with al-
hands of a young, inspired gui- ternative fingerings such as Ex. 1c,
tarist, it typically stays there for a a pattern Stevie Ray Vaughan used
lifetime. Though the blues scale is in his immortal blues extravagan-
timeless, many players yearn for za, “Rude Mood.”
ways to import new melodic colors E x . 2 is an SRV-approved
into their blues-based solos. The voodoo maneuver that uses Ex. 1c’s
simplest way to do this is to change fingering and sounds mean over a
one note of the blues scale, result- swingin’ E7 shuffle—even though
ing in a soulful sound you may it doesn’t actually tag the b7. (In-
have heard in the playing of Hol- stead, it nails the 6, C#—remem-
lywood Fats, Duke Robillard, Char- ber?) And for yet another voodoo
lie Christian, and Larry Carlton—a fingering, try Ex. 3. It has a similar Acoustic cowboys—Trovato (left) and Johnny Hiland mesmerize
sound often referred to as the flow to the previous example, but a crowd at the B-Band booth, Winter NAMM 2003.
ö ö ö bö
Blues Scale Blues Scale Blues Scale 3
ö ö= ö e
#### 4 ö nö ö
4
ö w
1
XII XII IX 4
& 4
================ =
= root
12 9
T
12 11 10
A
12 9 9
Ex. 3 B
11
ö = 144
E7
3
#### 4 ö b ö ö n ö # ö ö ö
ö ö= ö e
w
4 1
& 4
================ =
7 6 5 3 4
T
5 5
A
6
B
ö = 144
3
#### 4 ö ö ö ö n ö # ö ö # ö ö ö n ö # ö ö ö # öö ww
ö ö= ö e
E7
ö ö ww
1 1
& 4 ö n ö #ö ö ö ö ö öö
2
============================== ö ö n w
1
ö nö ö ö ö w
1
2
B1/2
3 4 5 6 7 3 4 6
T
5 7 5 5 7
A
4 6 4 4 2 1 6
B
7 5 6 4 2 2 6
4 4 5
3 0 0