The Blues Scale

 

Depiction of the Blues Scale
by ArtByAdam

The blues scale, particularly associated with Robert Johnson and other blues musicians, is a modification of the minor pentatonic scale with the addition of a flattened fifth, often referred to as the "blue note." This note adds a distinct dissonance or "bluesy" feel to the scale.

Intervals of the Blues Scale

In the context of a minor blues scale, the intervals are as follows:

1. Root to Flat 3rd: Minor 3rd (one and a half steps)
2. Flat 3rd to 4th: Major 2nd (whole step)
3. 4th to Flat 5th (Blue Note): Minor 2nd (half step)
4. Flat 5th to 5th: Minor 2nd (half step)
5. 5th to Flat 7th: Major 2nd (whole step)
6. Flat 7th to Octave (Root): Minor 3rd (one and a half steps)
In the Key of C

For example, in the key of C, the notes of the C blues scale would be:
C (root), Eb (flat 3rd), F (4th), Gb (flat 5th/blue note), G (5th), Bb (flat 7th), C (octave/root).

Characteristic Sound

The addition of the blue note (flat 5th) to the minor pentatonic scale is what gives the blues scale its characteristic sound, full of emotional depth and expressiveness, often used to convey the struggles and emotional intensity inherent in blues music. Robert Johnson's mastery of this scale, along with his unique playing style, contributed significantly to his legendary status in blues music.

The Legend of Robert Johnson and the Crossroads

 

Depiction of Robert Johnson and the Devil

The legend of Robert Johnson, a highly influential American blues musician. According to the legend, Johnson acquired his extraordinary skills on the guitar through a Faustian bargain with the devil. The story goes like this:

Background: Robert Johnson was born in Mississippi in 1911 and was a relatively unknown blues singer and guitarist in his early years. His early performances did not indicate the extraordinary talent he would later be known for.

The Crossroads Deal: According to legend, Johnson was desperate to achieve musical greatness. He supposedly went to a crossroads near the Dockery Plantation at midnight, where he met a large black man (believed to be the devil). Johnson handed his guitar to the man, who tuned it and played a few songs before returning it. This exchange granted Johnson mastery over the instrument.

Sudden Mastery: After this supposed encounter, Johnson's musical skills dramatically improved. He returned to the blues scene with a new, advanced guitar technique that no one had heard before. His style was complex, featuring a combination of singing, guitar skills, and songwriting that had a significant influence on the future of blues and rock music.

Short Life and Mysterious Death: Johnson's life was short-lived; he died in 1938 at the age of 27 under mysterious circumstances, which further fueled the legend. Some say he was poisoned by a jealous husband, while others link his death to his alleged pact with the devil.

Legacy and Influence: Despite his brief career, Johnson's music had a lasting impact on later generations of musicians, including Eric Clapton and the Rolling Stones. His songs, like "Cross Road Blues" and "Hellhound on My Trail," are considered blues classics and reflect the mythic themes of his legend.

The legend of Robert Johnson at the crossroads is one of the most enduring tales in the history of blues music and has become a part of the wider mythology of the devil's bargains in popular culture. It's important to note, however, that this story is a myth and part of the folklore surrounding the early blues era.

Practicing The Modes

 

Depiction of the Modes

We recommend the following mnemonic: "I Don't Play Loud Music About Love"

I = Ionian (major) R1,W2,W3,H4,W5,W6,W7,H8
D = Dorian (one of the minors) starts on the 2nd interval
P = Phrygian starts on the 3rd
L = Lydian starts on the 4th
M = Mixolydian starts on the 5th
A = Aeolian (natural minor) starts on the 6th
L = Locrian starts on the 7th

In the key of C:
C Dorian = D,E,F,G,A,B,C,D
C Phrygian = E,F,G,A,B,C,D,E
C Lydian = F,G,A,B,C,D,E,F
C Mixolydian = G,A,B,C,D,E,F,G
C Aeolian = A,B,C,D,E,F,G,A
C Locrian = B,C,D,E,F,G,A,B

We require that our students practice 1 different scale around the circle of 5ths each day, with all of the modes.

The First Week:

• Monday C
• Tuesday G
• Wednesday D
• Thursday A
• Friday E
• Saturday B
• Sunday F#

The Second Week:

• Monday C (repeat)
• Tuesday F
• Wednesday Bflat
• Thursday Eflat.
• Friday Aflat
• Saturday Dflat
• Sunday Gflat.

Back to C

We don't recommend studying C# or Cflat for obvious reasons.

The Melodic Minor Scale Through Time

 

Depiction of the Evolution of the MM Scale

The exact origin of the melodic minor scale, like many elements of music theory, is not attributed to a single inventor or a specific year of creation. The evolution of the melodic minor scale, as with many musical scales, is a result of centuries of musical development and cultural influences. Here's a brief overview:

Early Origins: The roots of the melodic minor scale can be traced back to the modes used in medieval and Renaissance music. During these periods, modes rather than scales as we know them today were the foundation of musical composition.

Baroque and Classical Periods: As music transitioned into the Baroque and Classical eras (circa 1600-1820), the use of the major and minor tonalities became more prominent. Composers began altering natural minor scales to suit harmonic and melodic needs, particularly in vocal music where smooth, stepwise motion was often desired.

Rise of the Harmonic and Melodic Minor: To address the limitations of the natural minor scale, especially its lack of a leading tone (a half step below the tonic), the harmonic minor scale was used. However, the large interval (augmented second) between the sixth and seventh degrees of the harmonic minor scale was seen as less conducive to smooth melody lines. This led to the alteration of the sixth and seventh degrees in ascending melodies, creating what we now know as the ascending melodic minor scale.

Twentieth Century and Beyond: Throughout the 20th century, the melodic minor scale, especially its ascending form, gained prominence in jazz and contemporary classical music. Jazz musicians, in particular, have exploited the scale's unique sound for both melody and improvisation, often using the ascending form exclusively in both ascending and descending contexts.

In summary, the melodic minor scale as we know it today is a product of a long evolution in Western music theory and practice. It wasn't so much invented at a specific point in time by an individual, but rather developed organically as composers and musicians sought to address the harmonic and melodic limitations of the existing musical scales.

What is the Melodic Minor Scale?

 

Depiction of the Melodic Minor Scale

The melodic minor scale has different intervals when ascending and descending. Here's a breakdown:

Ascending Melodic Minor Scale
1. Root to Second: Major 2nd (whole step)
2. Second to Third: Minor 3rd (half step)
3. Third to Fourth: Major 3rd (whole step)
4. Fourth to Fifth: Perfect 4th (whole step)
5. Fifth to Sixth: Perfect 5th (whole step)
6. Sixth to Seventh: Major 6th (whole step)
7. Seventh to Octave: Major 7th (whole step)

Descending Melodic Minor Scale

The descending melodic minor scale traditionally follows the intervals of the natural minor scale:

1. Octave to Seventh: Minor 7th (whole step)
2. Seventh to Sixth: Minor 6th (whole step)
3. Sixth to Fifth: Perfect 5th (whole step)
4. Fifth to Fourth: Perfect 4th (whole step)
5. Fourth to Third: Minor 3rd (half step)
6. Third to Second: Major 2nd (whole step)
7. Second to Root: Minor 2nd (half step)

In the ascending form, the melodic minor scale raises both the sixth and seventh degrees, which differentiates it from the natural and harmonic minor scales. In the descending form, it reverts to the natural minor scale pattern.