![[50MAJ-SBLBTB] Major Slow Blues Lick 1](https://bluesguitarunleashed.com/blog/wp-content/uploads/2024/05/50-maj-sblbtb-lick-1-TN.png)
There is a difference between the major blues scale and the minor blues scale…
When we use the minor blues scale, it’s rare that we bring in much of the major blues scale…
But when we lean on the major blues scale for our licks, we often pull in some help from the minor blues scale.
In this video, You’ll get a really cool, new, major sounding slow blues lick, and I’ll walk you through how to learn it, and how to use it.
These “major blues” licks are really fun, because they tend to follow the chords better, but you do have to be aware that they only work over the chord they are meant for. New chord? Gotta move the lick. Not a big deal, but you need to know that.
There are a lot of these licks in 50 Major Slow Blues Licks By The Box if you want more.
For now, watch this video and play this sweet slow blues lick:
Want a cool slow blues in A jam track with it? That’s HERE
And the one chord (A7) jam track is HERE
And the PDF of the lick and variations is HERE
5 replies to "[50MAJ-SBLBTB] Major Slow Blues Lick 1"
Got it Mixoydian, as I remember, is very prevalent Bluegrass. It and Dorian modes seem to be the most used in Western Music and sometimes Jazz players will use Modal names instead of the Nashville numbers to describe chord changes…but you know if I think about modes too long I get a headache. I have taught myself what theory I do know, and I keep saying I’m going down to the Community College and enroll inn some theory Classe, but THAT”S A LOT OF WORK!
Just love the explanation. I now understand how the box shapes can be minor and major and I am starting to learn the notes by number. Thanks.
THANK YOU for illustrating the box patterns that you refer to! Sometimes you don’t. Some of us have trouble with tab (I know, but to me it seems backwards… ), and the boxes are the easiest way for me to learn this kind of lesson. Showing the roots and the intervals is super helpful too.
Just a thought unrelated to this vid/lesson, Dickey Betts just died and I’m told that he used a different scale for his major sound work. Any chance that you might show us how that works? Perhaps you already have? If so, a pointer to where that might be would be really good.
Thanks again.
He added the 4 to the Major Pentatonic.
Which is also Mixolydian w/o b7. Or Ionian w/o 7. Or however else you might choose to look at things.