You know, a lot of these kind of blues is
when you're, you're working on that,
every guitar player's familiar with the,
minor pentatonic blues scale.
When you have the minor pentatonic blues
played against the major, so you've got
the major third and the minor third give,
that's what gives it that great tension.
This is the absolute essence of, of,
of playing the blues, is that clash almost
of the, the major and minor.
It shouldn't work in theory.
This is something that if you look at the
history of European classical music, they
would have said a minor third and major
third that just doesn't, doesn't work.
And this is the whole essence of what,
what gives blues that feel is playing in a
But playing a minor scale over it.
that's a major scale,
a major chord.
As opposed to
playing it, if you play the minor chord.
That has that kind of feel, but when
you've got the major.
don't really need to tell you too much
about blues scales, blues licks,
cause you know you've heard them all a
million, million times.
But put some of those things in.
That's the thing that really gives it the,
the essence of the, of the blues.
That emotive feeling.
it's really, this is one of the great
things about playing the, the blues and
the jazz contexts is that you do have this
kind of sophistication of, of harmony.
almost like the meeting of two worlds,
The best of two worlds.
And if you wanna hear some really great.
Simplistic blues licks.
You listen to the master, you listen to
There's nothing better.
Just plays two notes, that's fantastic.
So play, think of that, think of B.B.
King, B.B. King meets Joe Pass.
[LAUGH] Get some of that in, in your mind
and that's what we're trying to achieve.