If you are soloing over a blues that uses dominant 7th chords, or basically any basic blues that is not a minor blues, you can use a combination of the minor pentatonic scale with the added flatted 5th (blues scale) and the major pentatonic scale with the added flatted 3rd (the redneck scale! Just kidding; how about calling it a “country blues scale?”). In other words, you can “intersect” these scales—get it?
I do a lot of playing of an idea in one scale and then doing the same idea in the other scale to show you how they work together yet sound different.
There’s a snazzy little harmonic lick at the tail end of this track where you have to bend the B string up a whole step behind the nut, using your third finger (and first and second fingers for added strength) of your fretting hand.
This works best on a Tele or a Strat, and is a painful experience at first, but anything worthwhile is!
I start out on the neck pickup of a Telecaster and switch to the bridge pickup to make the pedal steel bends and the pinch harmonics sing a little more. The amp is a Bassman.
Listen to “Intersection Blues” and feel the power of these two scales working together and then steal some or all of it, depending on how you like to roll.