Sample pages

256 Mastering Mandolin
64 Chapter 5Scales and Modes
PART TWOMELODY
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Now that you have some familiarity with pentatonic scales and understand how they can
be used, here is a great tune for you to try. This tune is composed solely from the notes
contained in the G Major Pentatonic scale and provides a perfect example of how the
scale can not only sound pleasing over different chords in a key but can be crafted into a
very nice sounding tune too.
SPOOTISKERRY REEL
Track 33
pg 58-69 mm3.p65 12/30/2003, 5:24 PM64
65Chapter 5Scales and Modes
PART TWOMELODY
THE BLUES SCALE
One of the most infallible ways for a beginning improviser to create pleasing solos is to
use the blues scale. Thats because all of the notes in the scale will sound good with almost
any basic blues tune, in a major or minor key. The important thing is to use the scale with
the same root name as the key youre playing in. Like the pentatonic scales we just dis-
cussed, the blues scale lets you play one scale over the entire chord progression with
virtually no chance of playing a wrong note.
You will notice right away that a blues scale bears an amazing similarity to the minor
pentatonic scale. In fact, for all practical purposes, it is a minor pentatonic scale with an
added a
5, making it a six-note scale.
Here is a C Blues scale. Use the movable fingering shown in the diagram to play the scale
in any key.
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wb
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wb wn
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1 3 4 5
1
4 1 2 3 4 1
1 3 4 5 5 7
b b n b
1 2 3 4 5 6 7
1 2 3
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4
4
Yank Rachell (19101997) was one of the most
prolific and influential blues mandolinists
playing both electric and acoustic mandolins.
His performing and recording career spanned
seven decades and included work as a soloist
with artists such as Sonny Boy Williamson and
Sleepy John Estes.
PHOTO MAUREEN DELGROSSO
pg 58-69 mm3.p65 12/30/2003, 5:24 PM65