(For free blank staff paper, visit Suggestions: For this exercise, use the same rhythm for every measure. Using the exact same rhythm as your idea in the first measure, compose rhythmic riffs on scale degrees 1 and 3 for every measure in the B flat blues. Write that riff in measure 1 of your composition. Begin by writing a one-measure riff using the pitches B flat and D (scale degrees 1 and 3 of the B flat 7 chord). You should practice the arpeggios like I’ve written them out, but you would get a lot from also improvising over the progression just using the arpeggios.Compose a solo on the twelve-bar blues using scale degrees 1 and 3. To make it easier to connect the different arpeggios I have written them out in a similar range which means that I don’t always start on the root of each chord. In example 3 I have written out the arpeggios in this position. Therefore it is very important to be able to play the chords of the progression as arpeggios. When playing over changing harmony the best way to really follow the chords is of course to use the notes of the chords in your solo. You can use this approach to determine what scale you should use for any auxiliary dominant. In this context the (actually in most contexts) that means using the C harmonic minor scale. If I need to fit an E dim in there then an easy way to do that is to replace the D with a Db and the Eb with an E:īb C Db E F G Ab Bb which you can write out from F to recognize that it as an F harmonic minor scale.įor the G7(b9) you need to look at it as a dominant resolving to Cm, which tells us that we should use a Cm scale for it.
You can see how I arrive by this by looking at it from the Bb7 scale: The E dim scale is in fact an F harmonic minor from E to E. The Bb7,Eb7,Cm7 and F7 are easily understood in terms of where they sit in the key, since it is all mixolydian or dorian.
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