Dudes, I actually put a lot of work on my tunes. At least a couple days of work. I guess I'm pretty fast though.
gyms: Yeah, I've felt that way too. My songs is kinda the same. I just haven't been able to wrap my brain around how other modes work. Thanks for the tip dude. I want to take my music writing to the next level.
I sort of agree with gyms, however, all the blues greats rarely ventured outside of the regular ol' minor pentatonic. It's less about how many scales and chromatic alterations you use, and more about how you use them.
If you do want to introduce more notes, might I suggest the sixth? It gets ignored quite a lot in generic (not that I'm saying your music is generic) bluesy stuff. If you're playing C blues, throw in an A note, and you're effectively playing in Dorian.
Blues - C Eb F G Bb
Dorian - C D Eb F G A Bb
See what I mean? You can also alternate between using the major third and minor third, for one passage you might play:
C E G Bb A C E
for another
C Eb G Eb C A C
This probably doesn't make any sense, but I tried. Thinking too much about scales can hinder your melodies quite a bit. Think more about the current harmony, and how the notes you're playing interact with it. For example:
C F G C
Say you have that chord progression. It's in C Major, so all the notes of C Major should work all the time right? Not necessarily so. Try holding a B note over the F major chord. It ain't pretty, because the full collection of notes at that moment would be:
F A C + B
Notice how the C in the chord, and the B in the melody clash, due to the very small space between them (a semitone).
Hope at least one sentence of this made sense, I understand this stuff can seem really off-putting and boring but it really does help.
gyms: I felt stuck in that scale, it's kind of boring to make new songs now. Because they always get the same mood to them. I want to mix and match more with other scales.
