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Other than that, I'm not sure what question you're asking due to the use of abbreviations, shortcuts and misspellings. Can you clarify???
Also playing A mixolydian, D mixolydian, E mixolydian (for a blues in A) is an interesting approach.
Really though that is how I've practiced- when you play you try to seamlessly mix all these up in such a way as it sounds musical.
I am mostly trying to think of a melody that I want to play- the approaches above are just ways to access that.
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Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
A good example of this, is I discovered when playing in A that playing Bb against the 5 chord sounded good. At first I thought I'd inadvertently discovered some fiendishly clever mode - when in fact its simply the flattened 5th of an E chord....
I don't profess to have particularly sophisticated harmonic knowledge - but I do know what pitch a note will be before I play it - so I can improvise melodically with ease.
Probably on on a more basic blues it would be more phrasing and note choices and seeing what alters and what stays the same for the chord changes ..i like using the 6th on the A7 chord so F# ..
And then when you resolve to A, if you're not fussed about the "7" in A7, you can shift your fingers up a semitone to G# minor penta, which gives it the A a lydian feel with an aug4 and major 7.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
My feedback thread is here.
My feedback thread is here.
The point about the blues is that everyone knows where the melodic line is eventually going to resolve. The trick is how much tension you can build up, by fair means or foul, and where you resolve to. Fair means is note choice, including repetition and bending. Microtonal bends are an essential part, because the early blues was played by people who didn't grow up with the 12 tone Western Classical scale. Foul means going further off piste with notes and timing.
Some great answers though
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Les