Lately, there’s been a fascinating shift in the world of Blues music. Have you noticed how contemporary players like Robben Ford and session pros such as Mike Landau are steering away from the traditional blues scale? It’s all about this intriguing minor major tonality that’s making waves, and it’s a trend worth exploring.
Instead of the classic bend on the minor third that’s been a staple in blues, these modern musicians are separating and emphasizing the minor and major 3rd distinctively. It’s a departure from the familiar, and it’s giving the music a fresh, edgy feel.
What’s causing this change? Some suggest influences from the diminished scale or the fusion of major and minor tonalities found in legends like Miles Davis. These elements seem to have seeped into the Blues world, shaping a new sonic landscape.
The result? A revamped pentatonic structure: Root, minor third, major third, fourth, fifth, flat seventh, octave, and a myriad of variations. Imagine the possibilities—different fingerings, various applications, and a whole new palette to paint your musical landscape.
Curious to explore further? Dive into these musical nuances. Whether you’re a seasoned player or just starting, these shifts in tonality could be the spark you’ve been seeking to ignite your musical creativity.
And hey, if you found this insight intriguing, there’s more to delve into. If you’re up for it, check out my books on modern Blues—’Contemporary Blues Soloing’ and ‘Contemporary Blues Chords and Comping.’ They cover everything from the basics to the complexities of modern Blues. Available in both hard copy and digital formats, these resources might just be the inspiration you’re looking for.
Let’s keep the Blues evolving, pushing, and embracing these new sounds. Share your thoughts below! Have you noticed this change in the Blues scene? What’s your take on this shift to minor major tonalities?