Title: Adding the Major 3rd. to the E Minor Pentatonic Scale
Transcribed by: Jeff Swain
-----------------------------0-3/4-0-3/4-0----------------------------|-------
------------------------0-3-----------------3-0-----------------------|-------
-----------------0h1-2--------------------------2-0h1-----------------|-------
------------0-2---------------------------------------2-0-------------|-------
--------0-2------------------------------------------------2-0--------|-------
-0-3/4---------------------------------------------------------3/4-0--|-------
E minor Pentatonic, with added Major 3rd.

NOTE: Usually, you always go from the Minor 3rd. TO the Major 3rd.
Even when descending.

This move really helps nail-down the sound of a Dominant chord.


------0----2--0-----------|----------3------|--0--------|-0----------|--------
------0----2--0-----------|------3-5---3h4--|----1/2----|------------|--------
------0h1--2--0h1---------|-2/4------------4|--------2--|---0h1------|--------
---2--------------2-------|-----------------|-----------|--------2---|--------
--------------------------|-----------------|-----------|------------|--------
--------------------------|-----------------|-----------|------------|--------
E Blues Rhythm Lick B7 A7 E7

--------------7---7-----------------------------------------------------------
--------------8b--8b----------------------------------------------------------
------------------------------------------------------------------------------
------------------------------------------------------------------------------
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Classic "Blue 3rd." Train-Whistle lick, in E. Bend the G note slowly,
and 1/3 to 1/2 way to the G# note.

The "Blue 3rd." is a very vocal-sounding note. Try it, it's addictive!

My personal theory on why a minor third sounds well in the 'bend-up' or 'slide-up' to a major third, is that the third we hear (and sing, as there's no frets on your voice) is actually lower than the standard major third. Also, the harmonics that sound like the major third of your open string or fretted note are a bit lower. That's just the natural way things are and sound, it seems. That's the reason also that EVH tuned down his B-string, he played barre-type chords with the third on that string! Another reason why a minor third sounds good in dominant chords is of course that it's a b10 (or #9, as native English-speakers somehow always call it). As you probably know you can play most any alteration (b9, #9, #11, b13) on dominant chords.

Damn, I love theory

Njlo,

I like your take on the EVH tuning. Probably spot-on.

Yeah, the "Blue 3rd." is really the note you'd hear in the overtone series. Since the equal temperment tuning of many instruments (guitar included), is just an "averaged" approximation of the overtones, I like to use the term "Blue 3rd." to make it easier for me to digest. Blues and vocal music is where I first discovered the discrepancy.

Horns and Harmonicas also use this a lot. Maybe some more forum members will chime in, with their thoughts and discoveries.