For C major Pentatonic Blues, the Chords are C maj. F maj. And G7. They can also be C7, F7, and G7. avoid the E natural (E). When the F7 comes around in the progression, This Blues has more of a “Gospel” feeling to it. Of course the ear is also going to hear and be influenced by the arpeggios of these chords as well For A minor Pentatonic the Chords are A7. D7. And E7. The A minor Pentatonic Blues Scale played against these Chords which are essentially major, is powerful. The feeling is “even though I’m hurtin’, I’ll stand and face what ever comes at me”. maj. F maj. And G7, or C7, F7, and G7 are in effect, you For A minor Pentatonic the Chords are A7. D7. And E7. could also switch back and forth between the C Minor Blues Scale and the C Major Blues Scale. Here on Blues in A, you could alternate between the A Minor Pentatonic Blues Scale and the A Major Pentatonic Blues Scale. Remember, that you’re always bending them towards each other. While C Remember, the Minor Blues Scale can bend towards the Major Blues Scale, and the Major Blues Scale can bend towards the Minor Blues Scale. It’s how you hear them and mix them up that makes it effective. You have to truly hear where you’re going to be effective with this. OK, I’m going to take a short cut here. Knowing your Mixolydian 7th chord arpeggio, and off of the same (1) or Tonal Center, playing your Major and Minor Blues Scales from that same Tonal Center is a great way to organize your “Blues” material. In rubbing shoulders with a lot of good country guitar pickers over the years, I’ve noticed that this is basically the way they look at organizing it. Whether they arrived at this by collecting licks, or what ever, this is a very good way to organize. Every time a “7th” chord comes up be it a One Chord, Four Chord or Five Chord, it get’s the same treatment. The following slides convert this into the Numbers System.
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