C maj. F maj G7 A7. D7. E7

For C major Pentatonic Blues,
the Chords are C maj. F maj. And G7.
They can also be C7,
F7, and G7.
avoid the E natural (E). When
the F7 comes around in the progression, This
Blues has more of a “Gospel” feeling to it.
Of course the ear is also going to
hear and be influenced by the arpeggios of
these chords as well
For A minor Pentatonic the
Chords are A7. D7. And E7.
The A minor Pentatonic
Blues Scale played against these Chords
which are essentially major, is powerful.
The feeling is “even though I’m hurtin’,
I’ll stand and face what ever comes at
maj. F maj. And
G7, or C7, F7, and G7 are in effect, you
For A minor Pentatonic the
Chords are A7. D7. And E7.
could also switch back and forth between the
C Minor Blues Scale and the C Major Blues
Here on Blues in A, you
could alternate between the A Minor
Pentatonic Blues Scale and the A
Major Pentatonic Blues Scale.
Remember, that you’re always bending
them towards each other.
While C
Remember, the Minor Blues
Scale can bend towards the Major Blues
Scale, and the Major Blues Scale can bend
towards the Minor Blues Scale. It’s how you
hear them and mix them up that makes it
You have to truly hear
where you’re going to be effective with
OK, I’m going to take a short cut here. Knowing your Mixolydian 7th chord
arpeggio, and off of the same (1) or Tonal Center, playing your Major and Minor Blues
Scales from that same Tonal Center is a great way to organize your “Blues” material.
In rubbing shoulders with a lot of good country guitar pickers over the years, I’ve
noticed that this is basically the way they look at organizing it. Whether they arrived at this by
collecting licks, or what ever, this is a very good way to organize. Every time a “7th” chord
comes up be it a One Chord, Four Chord or Five Chord, it get’s the same treatment. The
following slides convert this into the Numbers System.