Rob Schumann: In this third segment, we are finishing up our second form of the blues scale. And we identified our flat thirds as being on the fifth fret and the third fret. So to add in that major third, we are just going to go up one more fret on the sixth fret and the fourth fret and/or we could also bend.
So descending this blues scale would look like this or we could certainly do the bend on each of those two. In this case -- going to our next form of the blues scale, will on the seventh fret of the fourth string. This blues scale looks like this -- and so counting through using the formula we have got one, flat three, four, flat five, five. In this third segment we are finishing up our second form of the blues scale and we identified our flat thirds as being on the fifth fret and the third fret.
So to add in that major third, we are just going to go up one more fret on the sixth fret and the fourth fret and/or we could also bend. So descending this blues scale would look like this, or we could certainly do the bending this ways too. In this case -- going to our next form of the blues scale, would be on the seventh fret of the fourth string. This blues scale looks like this and so counting through, using the formula we have got one, flat three, four, flat five, five, flat seven, one, flat three and then the four and the flat five.
Going down below the root, we have got one, flat seven, five, flat five, four, flat three. So our flat threes are on the eighth fret of the first string. Eighth fret of the sixth string and also on the tenth fret of the first string. So descending this blues scale would look like this. And once again, all of these are released full on bending. We are going to have -- our next position of the blues scale is on the twelfth fret on the fifth string, so that is like this.
So using our formula, we have got one, flat three, four, flat five, five, flat seven, one, flat three, four, flat five, and five. So here are ones that -- on the thirteenth fret, second string and tenth fret, fourth string. So descending this scale, we would have -- and this one sounds --
Speaker: And the movement for the voice is E, the kind of trademark drop which is just going to the major third of the B. Now we are going to three cores and it just mirrors that phrasing or that voicing right there. It starts on the open E string and just goes.
Transcription by:
Scribe4you Transcription Services