Part 12: Blues, with the foundations still clear · Lesson 112 / 117
Major blues adds the minor third
Compare C and C# inside a major-pentatonic-based collection.
A major pentatonic is A–B–C#–E–F#. A major blues adds C, the minor third above A: A–B–C–C#–E–F#. Its formula is 1–2–b3–3–5–6.
Notice that both thirds are present. C# belongs to the A7 chord; C provides a contrasting blues colour. In C–C#–E, the melody moves from that minor-third colour into the major third and then the fifth.
The added note here is b3, not b5. That distinguishes major blues from the minor-blues construction in the previous lesson.
Practise above A7 first. Later, the chord change to D7 alters the role of C: it becomes D7's seventh. The same note can therefore be a blues-colour choice in one bar and a chord tone in another.
Hear it
Major Blues
Audio fileFour-beat count-in · 60 BPM · Warm sampled electric guitar. Listen once before playing along.
A concrete example
A major blues = A B C C# E F#. A minor blues = A C D Eb E G. They are related blues resources, not the same six-note list.
Fretboard view
High E (string 1) is the top line, matching guitar tablature. Select a note to hear it.

Play notes from a larger button list
One small map at a time. Hear the notes, then play the example without looking.
Try it, slowly
- Play A major pentatonic.
- Add C before C# and compare the two thirds.
- Make a short C–C#–E phrase over A7 with a deliberate arrival on C# or E.
Check one idea
What distinguishes the added note in major blues from the added note in minor blues?
Show the explanation
Major blues adds b3 to major pentatonic. Minor blues adds b5 to minor pentatonic. In A, those added notes are C and Eb respectively.
A good place to stop
You can state both constructions without confusing their added intervals.
Return to the example after a short break. A clear explanation matters more than speed.
