 Hi everyone, welcome to part three which is the soloing part. So you're going to learn two iconic blues scales, the major blues and the minor blues. We'll first figure out how to form the notes and then what to do with those notes. Now that you already have a foundation of what the left hand will do, also the blues chord progression, I think we can do a lot of work now on the right hand, assuming of course that all the foundations are sorted out. So if you haven't already do head over and watch part one where we look at the chord progression, how to form everything, the foundational stuff and then go over to part two where I build important left hand rhythms which make it bluesy and a right hand rhythm which makes it even more bluesy. Okay, to make the blues solo what you need to learn is the blues scale and there are two blues scales we have in music. We have the major blues and the minor blues. Let's first learn how we can form them. The major blues scale is derived from the major pentatonic scale or at least you could derive it from the major pentatonic scale. Penta as the word suggests in Latin means five, five notes. So if you take the major pentatonic it'll be one, two, three, skip the four, play the five, six, skip the seven and you have your octave. It's C major pentatonic. So to make the major pentatonic into the major blues what do we do? You add the minor third which is E flat or the note in between the second and the third which is still E flat. So you go that's the major blues. Major pentatonic, five notes, major blues. So this is the blue note for major blues. That's what creates that vibe. Okay, so let's now look at the minor pentatonic scale which will in turn help us form the minor blues scale. So the minor pentatonic is one root C, minor third which is E flat, perfect fourth which is F, perfect fifth which is G, minor seventh which is B flat and then the octave. Very popular for rock music. So to make that a bit more bluesy what we then do we add the tritone. There we go, what's the tritone? The note between the four and the five that's F sharp or G flat. So that's your C minor blues as we call it. So you could just use those notes actually and just go up and down and if you can manage it with your left hand rhythm which we learned earlier. Okay, major blues up, little slower. Play around with that. Works for the entire blues progression. Yeah, so that's your major blues. Minor blues also works just as well. Feel free to also cross the octave, you know. Just enjoy the scale, you know and then follow the blues chords there, right? Another nice way to get cracking with a solo now that you know these two scales is to just develop a very, very small hook or a motif as we call it and then play the motif over the entire 12 bar cycle or entire 12 bar progression. So let's just try and come up with a motif, a short phrase right now, something like something like that or maybe let's try and figure that out on the piano. Now the motif you make could be either on the major blues or the minor blues. What I've sung now appears to be like a combination of both. Let's just see. So I'm doing that's G, F sharp, F, E flat, C, B flat, C, E flat, C. So I'll play it once. Doing a nice glide there, you can do that if you want. If you don't like this B flat, you can even play A. That'll create another sound variety, right? I like that. Don't overdo it, but do it. It's fun. Okay. Another thing with your melodic or solo playing, you need to enunciate the twos and the fours and even though I'm snapping it, you need to bring it out there as well. So play the two and the four rather louder and that again brings out the blues flavor in your playing. So there we go. There we go. And you can play this with the entire 12 bar form. Anything on that blues scale, it's a magic scale, guys. It's an absolutely magic scale. It can work on anything. It can work on major chords, minor chords and both the blues scales, the major blues as well as the minor blues. So works. If you've created a phrase, a few tips could be make the phrase very lyrical. In other words, just make it something a singer could sing. You should also try singing it. Yeah, I can sing it. It's easy to sing. So if it's easy to sing, it's going to sound great on the piano. Everyone's also going to enjoy it a lot more. So I have my phrase again and the other tip when it comes to creating a motif or a phrase or a lick like this is to extract small bits and pieces out of it. You don't have to play the whole thing. You can just create a few subsets of it. For example, you can just keep there and then later somewhere. So now you have two subphrases. Even though you made one, you can milk it over two phrases. So I have a gap there or have something else. Then and this makes your line interesting. So let's do that in a variety of ways with the same 12 bar. And I'm going to try to keep the same melody running shorter phrase, long second, second half and the whole thing. So those are the melodic ideas for the blues, which will help you build a melody as a songwriter or even build a piano solo, which you can play with your band at a concert. So how did we do it? Two scales, major blues or minor blues? How do we form it using the pentatonic scale and then adding what we call as the blue note? And when you improvise, first try patterns going up and down, get your fingers going and then build these sort of short motifs or phrases, which can be very catchy, very lyrical, singable and then extract even more juice out of it by creating subphrases out of the motif. So that was how we can look at soloing on the piano over the 12 bar blues form. Guys, thanks a ton for watching our blues piano lesson series. And if you haven't already, don't forget to like, share, comment, subscribe, turn on that bell for notifications, and also let us know if you'd like to learn something else. I hope this entire series was useful and I will catch you in the next video. Cheers.