Next thing we're going to do here,
we're going to work on our blues in E.
And the theory here is that if you're,
especially if you're playing
with guitar players and here I could tell
any number of guitar player jokes but
I won't out of respect for Chuck Loeb, our
guitar instructor here at Artist Works.
But guitar players,
E is kind of a natural key on the guitar.
But the main reason that we're going to
study the blues in E is that we want to
get to three more dominant chords and
in this case, are gonna be E7, A7, and B7.
And, at that point we will have worked out
on half of the dominate chords available.
So this is just a kind of a good exercise
for developing what we've learned so
far, the bop scales, the approach
patterns, the pentatonic scales, and
our voicings in a whole different set
of changes and in a different key.
What I'd like to do is start.
We're gonna do the bop scales quick in E,
and E7 and A7.
And then we're going to do
F sharp minor seven and B7.
Then we're gonna do a quick lesson
looking at the pentatonics in there.
The approach patterns are going
to be a very similar idea,
we'll practice to the root and the fifth.
And then of course since we have play
along tracks at every tempo in every key.
You can start to work out now on and
E7 blues in addition to our F7 blues.
Let's start by looking at
the fingering on an E7 bop scale.
And it follows kind of a familiar formula.
The E7 bop scale, here's our E7 chord,
E G sharp, and B.
That's just your straight-up E triad.
The D is our seventh.
So our scale,
once again we're gonna notice that on the
beat we're hitting all those chord tones.
And that's how I finger it.
One, two, three, one, two, three,
one, two, one, two, three, one, two,
three, one, two.
On the way down, it's the same fingering.
So again, one, two, one, three,
two, one, three, two, one, two,
one, three, two, one, three, two, one.
When we start from a different scale
degree, just pick the scale right up with
the finger that would be on there
if you played it from the root.
So if we play it from the third.
Start with the third, one two.
If we play it from the fifth
we start on the two.
Two, three, one, two, one, two, three.
And like that, again this is yet
another bop scale that we're
not using four and five on it.
You will probably find yourself at
some point using those fingers on it
because you've gotten to it in
an awkward way, or the place you wanna
go requires a reach from up here that
you can't reach from three let's say.
For now, let's finger it this way.
We want to do our exercises.
Same as we were doing from each different
degree, metronome on two and four.
The next thing we would do is integrate
our approach patterns into it.
You'll find here that as I'm
fingering the approach patterns,
just instinctively on the fly,
I'm setting them up so
that I can hit the target note
with my thumb on the way up.
So, three, one, two, one.
Same thing on that one.
And again, practice these,
do it slowly enough that you
can figure out your fingering.
And as you get it to become
more of an automatic thing,
you'll find that it becomes really easy to
finger even the weirdest idea
without thinking too much about it.
So there's our E7 bop scale for
our E7 blues, or rather our blues in E.
Now we're gonna work on the A7,
same exact thing.
One, two, three, one, two,
three, one, two, one.
The A7, of course, is our A triad,
which is A, C sharp, and E,
and the G is our seventh.
So, to finger it, one, two, three, one,
two, three, one, two, one, two, three,
one, two, three, one, two, one, two,
three, one, two, three, one, two, one.
Same exact thing on the way down.
One, two, one, two, three, one, two,
three, one, two, one, two, three, one,
two, three, one, two, one, two,
three, one, two, three, one.
And we would practice
that in the same way.
We would go up the degrees.
And of course, we would be practicing
them in any manner of ways, varying it up.
Trying to get the time to feel good
as we accent in all the different ways.
Same thing on the way down
with the A7 bop scale.
One, I actually use my three sometimes but
to be consistent,
one, two, one, three, two, one,
three, two, one, two, one three,
two, one, three, two, one.
The approach patterns we'll go again,
with the fingering that I like to use when
I can, which is four, three, two, one.
If you can prioritize putting
your thumb on the target note,
which in this case is gonna
be the root and the fifth.
On the way down on the A7 bop scale,
figuring out our approach pattern,
let's think about what we would do to
get our fifth on the target note.
That's kind of strange but
it works for me.
Three, one, three, five.
And then one, three, two, five.
Something like that would work on there.
Find your fingering,
and do it to the third
Or if you prefer,
Again, for that one little thing, I have
my exception where I prefer to hear the E,
which isn't strictly double chromatic,
which would be that.
But somehow that is
something that I prefer.
You may prefer the other way.
And on the way down
maybe something like that.
There are the first two of the new scales.
We're gonna get on our fingers
to work on the E7 blues.
In our next lesson we're going to look
at the F sharp minor bop scale and
the B7 bop scale.
I'll see you for that.