Another trick that can be used by sax players and guitarists is to stretch that D, but only slightly. However, to make it work well, you should be sure to place that single note over that single chord HIGH in your improvised runs.
SO, with that in mind, you can see how the D natural of the E minor, / G major scale CAN work against every chord in this type of progression. That is because the stretch-tuning compounds the slight “sharpness” of the major third. The same major 3rd ( D#) that sounded OK LOWER in the voicing now sounds awful when placed above the other notes in the exact same chord. In other words, put the major third on top with the minor third just above the root, like this: (from bottom to top) B, D, F#, A, D#.Īs you play this chord, you will notice that the tendency of the major 3rd to sound sharp is accentuated by its higher position in the voicing. Play the EXACT SAME notes, but this time, switch the octaves for the Major third (D#) and the minor third, (D natural). That chord voicing is ubiquitous in modern music. Now, you can prove this interesting phenomenon to yourself by sitting at a piano and playing the notes in this order from bottom to top. To turn that into a sharp 9th chord (B7#9) all you need to do is add the #9, ( D natural) which is the same as a minor third. So when we voice a dominant sharp nine chord (for instance) it sounds OK with the major third is an octave below the minor 3rd ( the sharp nine ). Major 3rds have a tendency to sound "sharp" anyway. Modern tuning uses a "tempered" scale that "stretches" higher on the high notes and lower on the low notes. Substituting a sharp nine, (which is the same as a flatted 3rd) is OK, and sounds better when you play it higher in the chord-voicing or melodic run. The sharp 9th is often substituted in blues in this type of progression. That isn't a complete no-no because the D natural is the same thing as a sharp 9th. There is only one sharp (F#) in the scale I suggest. The only note from an E natural minor / G major scale that doesn’t exactly fit the B7 is the D.ĭ# is the major 3rd of B, so, technically, the note D# would "fit" that single chord better. (V7 or in this case B7th)ī7 contains B, D#, F# and A. You CAN play the same G major, E minor scale, but the single note B might sound out of place by itself.īb would be a better choice for the C7 chord. That is because in the relative major key of G major, C would be the “four chord.” (IV) The four chord is naturally a major seventh in diatonic harmony. How?įirst: in many minor blues, the sharp five chord / flat sixth (C7) is played as a Major seventh. The only questionable application of this scale is over the B7 and C7 chords. Here is the chordal analysis for all the chords: Here is that scale, from E as the relative-minor root: E, F#, G, A, B, C, D, E. So it "fits" all of those chords except for the Bb of C7 and the D# of B7. It also contains all the notes of the C7 chord. The G major / E Natural-minor has all the notes of the E minor and A minor chords. If you are looking for a single scale to use through the entire piece, then an "E natural minor" (which is the same as a G Major scale) is your best bet. I will assume this is just a small mistake and focus on the harmonic content, because that does not affect the harmonic analysis. However, the number of measures you quote does not add up to 12 bars. That is, it would be if it is in fact a 12 bar blues as you state. The progression you describe looks like a “stock” minor blues.
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