I'm a very average player and go by "if it sounds good, it is good." I have always used 6D to start some of my favorite riffs, then I play the 6D half bend and go through several notes before ending up on 4D often and sometimes other notes. So I started looking at scales more and I notice that 6D is not in the blues scale (but it is in the major scale) and 6D half bend is not in either scale. What's up with that? Is the 6D half bend a passing note then? And why does 6D sound so good to me if it's not in the blues scale? I'm talking all second position here. Thanks for any help.
Well, even if you're in 2nd position, it matters what chord you're on. Like anything else, your choices depend on what the musicians around you are playing.
If you're on the one chord, in 2nd position, the 6 is the 2nd of the chord. It's a note in the pentatonic scale and it can sound really nice, especially if the song is one with a major feel. The 6' (six bend) is the flat 2nd. It's not in the blues scale, but it's an extremely aggressive note choice (more so than anything in the blues scale). It screams for resolution. If you hold it for any length of time, it creates a lot of tension.
On the IV chord, the 6 is the major sixth of the chord. This is again in the pentatonic scale. It can sound sweet when the band is playing something major. The 6' is the flat 6, another aggressive choice that can lead to resolution.
Over the five, the 6 is a great choice and criminally under-used. It's the fifth of the chord. (On any given chord, the root and the fifth are the notes that will match the best.) The 6' would then be the flat fifth, which is in the blues scale. These are both great choices on the V chord. Especially if you start on the 6' and then resolve to the 6.
If I got too much into theory for you, I'm sorry. The overall takeaway is that it's really dependent on the type of song and the chords that the rest of the band is playing. If it sounds good, it is good. In general, the 6 draw can be an interesting note choice, and the 6' (draw bend) creates some tension but resolves nicely. ---------- Marc Graci YouTube Channel
Don't get hung up on the theory and scales....if it sounds good, use it. (Of course, delving into theory does help create a deeper understanding. Music theory rules are made to be broken as well).
Blues scale is just a label describing a certain set of notes.
There is no rule that says one MUST stay within any scale.
Remember - first came MUSIC. Then came the theorists to try to explain why it sounds the way it does. ---------- The Iceman
Why?? D6 is the 9th of the I chord and the 5th of the V chord. Both of which are good notes. D6’ is the flat 5 of the V chord which can be a great crescendo note or a driving start to a solo IF played on the V. But ya gotta be careful where/ when you play it or it may not sound so good.
It seems to me that the original poster has a very elementary understanding of theory and is still struggling to fathom why a note not in a scale still sounds good.
It's nice to offer up to him more advanced theory as a response, but I do wonder if he would understand it.
In understanding where a person's theory level is, it makes sense not to go a level or two above it in giving an answer. At least that is my teaching experience... ---------- The Iceman
On the I chord you get the 9 b9 give jazzier sound. On the V chord it's like playing second position over it. you get 5 to b5. Here's tune that I use that sound. The solo is around 1:50 ----------
Since the bent note on hole four draw is so popular, it's no wonder that the bent note on hole six draw would be appealing. But that note is an avoid note--it's a half step away from the root. Try this--next time you have a solo, play that note only for a couple of bars--see what kind of response you get. Moral--too much garlic spoils a meal.
Thanks, guys, I'm getting back here a little late, but this was all helpful. Digg's track sounds like what I'm talking about, very helpful.
Last Edited by BeelzeBob on Oct 17, 2018 7:50 PM
I like to gliss up to it and really dig into it at the start of the V chord, it sets up a really strong end to a solo, I think. ---------- Harpeaux Edwards
I enjoy using the 6d bend as the major 3rd of the VIdom7 chord. Often it's part of a progression that uses two beats each of I, VI7, II7, and V7. I usually hit 6db followed by 5b: major 3rd down to root. Lay around the shanty, mama, and put a good buzz on.
I’ve been listening to King King a fair bit lately and noticing how much use Lester Butler makes of 6 draw and the bend, in conjunction with his great vibrato/tremolo. Mainly over the V chord.
Last Edited by SuperBee on Oct 21, 2018 10:20 PM