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lynnbakerjazz.com

The Three Tell-Tale Chords of a Jazz Blues

September 4th, 2010

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It seems that blues would be pretty easy to play, and play convincingly.  After all, there is basically just three chords – the tonic (I), the subdominant (IV) and dominant (V).  And in many cases and styles, it is stylistically appropriate to play one scale over the entire form.  However, like the very simple game of “go,” where there are few rules there is great complexity in the choices available – and some of those choices sound better than others!  Since there are so many choices to make, this essay will focus on one small corner of them – the harmonic choices in measures four, eight and twelve.

Jazz blues, as a form, is almost always twelve bars long and is divided into three phrases of four measures each.  The general harmonic texture of these phrases are; a sense of rest, a brief rocking away and back to that sense of rest, and another brief excursion to some tension before resolving back to the tonic chord.  You see from this description why it is possible to play one scale during the entire form – there’s really not much going on here except stating the key and briefly feinting either up or down a fourth to create a little tension.  That’s why the transitions between these sections are so important and are the tell-tale indicators of a player who really knows what’s going on in a jazz blues improvisation.

Suggestions for Practicing

I suggest developing or borrowing good jazz phrases that fit the chords in question, and then practicing them in context.

A player should first master a phrase or two so you hear them completely and accurately and you don’t have to think about the technical details of performing them.  Then put on a play-along of some sort and wait until that moment of the form to apply them.  Many times we get involved in other ideas if we improvise on all of the form and we forget or misplace the phrase we are trying to apply.  I know this sounds tedious, and it actually is, but you shouldn’t have to do it very long if you’ve spent time perfecting the performance of the phrase.  Remember, this is the second step of practicing application.  This routine can be applied to the other transitions/linking measures.

Getting to the IV Chord

I’m going to begin, not at the beginning of the form but moving from the fourth measure to the IV chord in measure five.  This IV chord is one of the formal markers of a blues and it is when the harmonic structure momentarily “rocks away” from the tonic.  Regardless of what went on the previous three measure, and a lot can go on, what the player does getting from measure four to five is the first indicator that they know how to handle the jazz blues form.

There are two very common chord structures in the fourth bar; a ii7-V7 motion in the key of IV (e.g., for a blues in the key of C, the chords would be Gmin7 – C7) and/or an V7 chord with some “tensions” or “alterations,” such as sharp and flat nines, sharp elevens, and raised fifths.  Listen in detail to your favorite jazz improvisers, transcribe what they do at this point and practice the most interesting phrases.

Getting to the ii7 Chord

One of the most frequently overlooked, and strongest indicator of a player’s grasp of the blues form, is negotiating the transition from the tonic in measure seven to the ii7 in measure nine.  Measure eight, the link to the third phrase of the blues is another tell-tale chord change.

In jazz blues the ii7 chord is very common to play at the beginning of the third phrase.  However, in a minor blues the bVI7 is frequently heard and the V7 chord is also common.  Given the variations available, I’m just going to offer a couple of categorical options from which you can choose.

For a resolution to a ii7, try a ii7 – V7 in the key to which you are resolving.  It is important to indicate in your melodies the key and mode your are moving towards.  For example, if the resolution in the ninth measure is going to be the ii7 chord, a good choice would be to use a line that reflects are minor-seven-flat-five chord built on the second scale degree of the ii7 chord.

For a resolution to a V7 you can use a dominant-seven chord a half-step above the chord in measure nine.  If you like the sound, you can even embellish that dominant-seven chord by proceeding it with a ii7 chord in that key.

Regardless of the musical situation or the path you choose, you should practice the application as described above.

Getting Home

The last important transition point is the return to the tonic chord at the beginning of the form.  This is frequently accomplished by a ii7 – V7 but sometimes the motion starts earlier.  Typically there is a resolution to the tonic in measure eleven of the form.  But players can increase a sense of motion back to the top by starting a cascading sequence of ii7 – V7 chords, beginning on the third scale degree of the key.  In any event, it is important to develop good jazz lines for this point in the blues and to practice applying them in context.

After you’ve made yourself aware of these important transition locations, practiced good jazz language, and applied them to the form, you’ll find your improvisations will have a new feeling of freedom and direction.

71 Responses to “The Three Tell-Tale Chords of a Jazz Blues”

  1. Nate Dyer

    I liked the article, makes we want to try practicing over a blues form again. You got me inspired, Article a success!

  2. lynn

    Cool Nathan, glad it was helpful. Take care.

  3. Glenn Kostur

    Hey Lynn,
    Great post. Those are all very important markers for convincingly navigating a jazz blues progression. Another spot that I focus on for myself and my students is getting back to the I chord in bar 7, after the two bars of the IV chord. This is especially true if the soloist is playing in a very bluesy fashion with a lot of b3 in their lines. Getting back to a major 3 when the I chord returns lets me know that the soloist is really hearing the changes.

    P.S. Love the new website and your blog post ideas! Looking forward to checking out the new record.

  4. Hannah

    This post was very helpful because I am still working on staying away from the simple blues scale on the entire song. Thanks for the practice suggestions and ways to transition to the different changes.

  5. Robert Tanaka

    I think I’ll need a lot of practice to get these ideas under my fingers when I solo. Looking forward to learning some blues.

  6. Will Kyriazis

    The one particular thing that intrigued me about this article is the emphasis on the different “scenes” or “phrases” that makes up a blues. Since the essence of the blues is rather lacking in complexity, the emphasis on the three different four bar phrases when improvising is important because it creates more interest and ultimately makes the 12 bar form so interesting.

  7. Josh Linhart

    I’ve never really focused on the transitions of a blues before so this article has opened up some ideas for me. By thinking about how to get from change to change instead of thinking only about the change itself, it will be easier for me to develop broader ideas and connect them fluidly.

  8. Sean Culliton

    This really got me thinking about how a small parts of a form can really make or break a solo and inspired me to pay closer attention to transitions.

  9. Heidi Schmidt

    This article has created for me a whole new level of understanding jazz blues. Seemingly simple, I realize that I have much to learn about these 12 bars. Look forward to it.

  10. Charlie Fenning

    Lynn,
    As a drummer, I hear “the blues” form and it makes sense in my head (the simple form and changes just click.)
    By dissecting the “corners” or transitions as you did, I feel like I should re-think my approach of playing the form. While it may be simple to play TO the blues, I now feel like I should play IN the blues and through the changes…

    Thanks!

  11. Patrick

    I like the way the 12 bar blues splits into three groups of four and then two groups of two. As a drummer, this helps me know when it my turn to speak (so to speak) and where to emphasize and create tension and release as well as when to change the sound or atmosphere of the piece.
    Thank Sri Baker

  12. Joey Genetti

    lynn i like the detail and careful explanations for each point you make about the blues. by breaking it up into sections and giving examples, the article was easier to comprehend and will be far more beneficial for me to learn from thanks

  13. Charlie

    This article made me realize what extensions great players such as Eric Alexander are playing.

  14. Brandon Meagher

    I’ve realized the space to be creative and independent in blues (and other form of jazz) is wide open, and really thought out. Improvisers have the choice to forget about a normal ii7-V7 or I7-IV, and play chord tones to another cadence to give the solo tension. The cool part is that the comping player can choose to back up the soloist by playing the chord the soloist is hinting at (making it sound normal), or not, which will keep the tension sound going. This article proves too that blues contains the progressions for a solid foundation in a recognizable song/feel, while leaving room to build upon, be unpredictable, and original.

  15. cameron crumpler

    i really enjoyed the arpeggiated approach to the turnaround. i am definately going to try this, i feel like most of my blues improv choruses sound like random noodles.

  16. cameron crumpler

    i really enjoyed the arpeggiated approaches to the ii7 chord, i am definitely going to use this, i feel like most of my blues improv turnarounds sound like random noodles

  17. Amber Bush

    Hey Professor Baker,

    This article really help me to understand the technicality in Blues music. After reading this, I’ve looked up a couple of songs like the “Thrill Has Gone Away” by B.B. King so that I can better understand how the music really flows when the technicalities are mastered/understood. So, essentially, I have lots of work to do in applying this to my improvisations and other music.

  18. Joey Glassman

    I wasn’t aware of all of the turn arounds that happen/could happen in a blues form. This was an enlightening article. Thanks for sharing! I definitely need to apply these ideas to my improvisation in blues.

  19. Carrie McCune

    This article gives a whole new meaning to ‘playing the changes’ for me. Not only is there a more complex structure behind the three chord form, but it is also important to play ones way into the transitions that create tension before resolving back to the tonic by utilizing different forms of turnarounds. It will definitely take some critical listening to figure out how different artists navigate these types of ideas, but it is very helpful to know more about what I am actually listening for and where it will occur in the form.

  20. Kevin Matthews

    I did not realize all of the different things that can be implied by a soloist over blues at its points of chordal transistion. Ultimately, it seems like it can make for a much more rich harmonic experience for the listener, and more involved interaction between the soloist and the band.

  21. Jackson Hillmer

    This article really helps dissect the blues and opens up new ideas to build the energy in a blues. As a drummer this will definitely help in conversing with the soloist, now that I know what bars they are basing their licks around. The Blues can only be felt if played right.

    Thanks Lynn

  22. Carolin Frohm

    Hi Professor Baker,
    It’s easy to fall into patterns of just taking the easy way out, especially if you’re a beginner. That you explain and give tips of how to approach and practice a 12 bar jazz blues is very helpful. Breaking up the 12 bars into different sections makes it more clear. I have a lot of work to do applying this.
    Thank you

  23. Hunter Donnelly Renner

    Hey Lynn,

    I found the sections about indicators of a player’s grasp of the form particularly useful. I’ve looked at the blues in a vocal tradition quite a bit (explain your problem, repeat and elaborate, throw a twist in, then solve it) and I think it has lead me to overlook a few things you say are commonly overlooked.

    Hunter

  24. Ben Pedersen

    This is a great article for learning to play blues changes properly. Knowing the ii-Vs and possible substitutions is important for applying bebop language over the changes. If you don’t play the ii-Vs and base your improvisation on the I, IV, and V chords only, any knowledgeable listener will know you don’t understand the changes.

  25. Sean Campbell

    Putting these ideas into action seems like a great way to keep my solos moving forward and inspire new ideas to play off of. I think the stark contrast between I and IV or that which occurs between any of the 4 bar sections can be tamed and smoothed out by the ideas discussed in the article. Now actually applying these ideas effectively is just a matter of putting in the time.

  26. Diana

    hey Lynn,

    It is insteresting !I never know there is a theory behind the improvisation. This article give me many detail of that. I think I should print it out. After reading this, I have summerize in 2 points: practise the oringal phrase and try to use that in the solo; be aware of the linking chord and try to figure those resolution. It seems easy to say, but hard to practice.

  27. Camilla Sterne

    Your suggestion to practice a lick with a play-along and only play the lick when it occurs in the form without trying to improvise around it is very interesting to me. I often do get caught in the moment and when the time comes to play the lick, I just go wooshing right on past it. I think in the future I will try that, especially with hard b sections (for instance Have You Met Miss Jones) where it might be helpful to practice a descending lick or sing the same thing over each II V I. I also think as a singer it is easy to over simplify and revert back to the good old blues scale in times of need. This article was a reminder that an overly simplistic solo over blues changes (or any changes for that matter) should be avoided, and this can be done by anticipating transitions in a remarkable and deliberate way.

  28. Megan Letts

    Applying the techniques that you have stated will REALLY help me improvise as a vocalist. A lot of times, I find myself just relying on my ears for the changes without listening as much as a should..my mistake, I know. But I think part of that reason is I have not been given ideas like these to develop my solos in a much more educated and rounded way. I am most certainly going to re-read this article, but with a piano in front of me next time to really grasp these concepts. And once I understand these ideas in the simple form of the blues, I can’t wait to jump into more complex progressions with similar concepts! Thank you!

    Megan

  29. Lucia Thomas

    Thanks for having us read this. I am looking forward to reading it again with my fiddle handy. I am intimidated by the prospect of sitting and listening to the cd and just waiting for the lick’s entry. I also need to get better at transposing particular licks into every key to have them in the bag of tricks. I’ll work on it though.
    thanks again,
    Lucia

  30. Alexander Raab

    As a total noob to jazz and the formulations and ideas that seem fundamental to many players this was perfect. As a classical musician, I typically don’t care about anything except for the standard major/minor chords or however you’d say them and have become so conditioned to feeling the style of movement found within. Studying the transition to and from IV will i guess then be my first step towards being a true cheese lover.

    Alex Raab

  31. Jackson Stevens

    I particularly enjoyed the option for navigating to certain chords with the ii7-V7 of the key. It seems like an idea that makes perfect sense that I for one never seriously considered. A three chord progression may come off as simplistic, but there in lies a complex world of harmonic navigation. I’m going to start play around with these ideas.

  32. Thomas Jennings

    I wish I had checked the syllabus and done this homework instead of next tuesdays, but having just read the post I think over the weekend I will work with some jazz blues licks and apply them to a playalong. I’m glad that I now have a guide to get me out of the I-IV-V blues rut I find myself in.

  33. Smee Wong

    Hello Lynn,
    Glad to read this helpful article. To be honest, I generally overlooked blues, 1st reason is it seems way simpler than other jazz style, 2nd reason is my taste told my some blues musicians such like Eric Clapton, and BB King, etc. just not my cup of tea. (Maybe I was missed greater blues artists) But after reviewed this article, it leads me a new direction to focus on blues as a complicated music form. All the chords changes is an amazing movement, since I thought blues is all about I-IV-V-I. Moreover, It even reminded the tune: now’s the time by Parker. When we think out of the box, blues can be classic and classy at the same time.

  34. Nellie Quinn

    I like the idea of learning a lick because I often just focus on making the changes and solo with whatever comes to mind. So if I had a really good lick in my muscle memory, it would make my soloing a lot better.
    Another thing I would be interested in trying is minor-seven-flat-five chord built on the second scale degree of the ii7 chord. That would be another thing that I could add to my muscle memory to make my soloing sound hip.
    Another thing I would like to develop is my “getting home” skills. In other words, learning how to play more hip 2-5-1’s.

    Thanks!

  35. Laura H

    This article was great to read as a beginner to jazz blues. Some great practicing tips and advice on how to improvise between chord changes. I will certainly try to stay away from playing one scale over the entire form!

  36. Sarah Dubetz

    This in-depth exploration of the blues form and chords was very helpful in understanding methods in playing the blues. While my ear is familiar with the blues, generally when soloing over a blues form, I rely soley on my ear rather than on knowledge of this style. Your explanation of the chords and the approaches into them will allow me to practice soloing with a laid-out plan.

    Sarah Dubetz

  37. Eli Acosta

    Is it taboo to keep the ii-V cycle rolling back? I’ve done this a few times (thoroughly planed out) with some other musicians; e.g. bar 8 is a ii-V to the III7 in the 9th!! bar, VI7 in the 10th bar, ii7 in the 11th bar, and the final bar is the V7 to bring you back to the top. I.e. does this sort of thing happen on the fly at all? or is this something to be saved for a specific blues?

  38. Calum Borthwick

    An interesting article, looking forward to working out how to apply it all.

  39. Jack Dunlevie

    Because blues are such a basic building block of Jazz and American folk music it’s easy to over-look the deeper analysis that leads to informed playing. I need to spend some time really digging into these changes.

  40. Joey Ziegler

    The simplicity of Blues leaves so much space for musicians to inflict their own complexities. From what I got out of your article, it seems like the freedom that is allowed from the Blues’ simplicity to create tension and color is a responsibility as much as it is a gift.

  41. Wilson Luallen

    I appreciated that this article discusses a “tell-tale change” for each of the three sections of the blues. The blues is first and foremost a music for expression, and as jazz musicians we can embellish that basic form to convey more intricate ideas. I think that may be why the blues is such an important part of jazz; it’s a time-tested vehicle of emotional expression which is at the same time simple enough in its basic form to allow tons of room for expansion.

  42. Keith Barnhart

    It would seem, that choosing a beer to drink would be a simple process. After all there are basically light, medium and dark varietys. Sticking to one particular brand would be an option, and in some establishments that might be the only choice! With all the decisions to make, let this advice be sobering: Drink in moderation, or at least don’t try every option in one sitting!

    Seriously, the sense of taste draws some parallels with the sense of hearing. The ability to craft a good repast requires a small list of ingredients and subtleties such as cooking temperature or order of ingredients. Our sense of hearing can easily be overwhelmed by too many “flavors” at once or burnt out from too much spice and poor combinations. I think what Lynn has provided is a simple recipie outlining the ingredients. It’s up to us to learn when to add each one and at what temperature! I suspect my aural creations may be a bit bland at the moment, but with this new approach perhaps I can bake up a gourmet dish 🙂 Thanks Lynn, this really changes the way I have been listening to jazz blues.

  43. Alec Wenzel

    This is a really helpful way to look at transitioning in jazz blues and especially for me because it is something that I struggled with last year first quarter. I was not “playing the changes,” as my coach said. I’m going find a play along and focus on getting licks that work over these transition sections.

  44. Julia Che

    It seems like ii7-V7 is the golden solution to the transition… I need to apply that to playing…

  45. Aaron Medina

    As jazz noob no. 2 in this discussion, I also feel like I’ve wandered into the twilight zone with the context of some of these changes. It’s cool to see how much more relaxed the functions of ii7 to V7 can be outside of the classical theory training I’ve received, and can be “cascaded” down in a sequence back home. The ii7 to V7 in the key of IV of C sounds so interesting, but I’m not yet sure why. Looking forward to learning more.

  46. Brendan Schuster

    I like how your article points out the importance of learning good jazz phrases and figuring out where they fit in context. I think they can teach you a lot about how to move around the blues if you break them down and actually apply them at the right time, as opposed to throwing the lick in wherever you want.

    This is also super helpful in understanding how to truly play over the changes in blues. It seems like a simple task, but there can be so much for finesse and tact applied to really emphasizing the changes that can bring new meaning to improvising over the blues, and not just relying on my ear.

  47. Camilla Vaitaitis

    This article was very helpful in more deeply analyzing how exactly to improvise over a blues, something so seemingly simple. The simplicity of the progression of the blues allows for many different options and colors to explore while improvising. One major point I really took away from reading this is that it is important to focus on how to transition into the next coming phrase. My mindset has usually been focused on what I will play once I arrive at the next given change, rather than how I’m going to get there.

  48. Trevor Ford

    It’s nice to read about the finer intricacies of blues progressions. Its easy to “show your stuff” in one key and vaguely outline the changes at bar 1, 5 and 9, but to “show your stuff” over the ii-V into the IV chord, again into the ii chord and finally into the tonic again, shows both in depth knowledge of the literature and how you can “show your stuff” on all parts of some changes. And the idea of outlining all the blues changes lets any musician know whether they know how to shred all keys. Try outlining and entering chords with ii-Vs in B or E major and some may find that they aren’t killin’ all over the map yet.

  49. Brooks Hiatt

    Hey Lynn,

    I often struggle with my playing, and find that it lacks the complexity I hear in more heavyweight players. By learning how to really deconstruct the 12-bar blues progression, it truly opens up my ear to new possibilities, and opens up my mind to new ideas.

    Looks like it’s time to move away from pentatonic scales, stop playing the blues like Muddy Waters, and really learn how to play Jazz Blues.

  50. Aidan King

    Thanks for the tip in this blog. I’ll make sure to listen for these things in jazz blues recordings. I absolutely love playing the blues on the trombone, and any further input would be treasured by me.

  51. David Bernot

    This is very similar to my current understanding of the blues. I don’t always use a whole ii-V in the key or IV or ii to get there but I usually do use the V7 in the key with maybe some extra alterations, and special attention to the #1 in the key of the blues that is the third of the VI7 chord leading to the ii7 and also I try to make a very clear resolution to either a guide tone, a chord tone, and occasionally, although less frequently, an acceptable extension like the natural 9 or 6. Although I already view the blues in this way, the exercise you suggested to assist with learning jazz vocab through actually waiting through the changes to play the line at the right spot seems worth a shot. So far when I’ve tried to incorporate phrases I’ve worked on I tend to improvise and then place the phrases where they go as often as I can remember, but this will usually cause issues like you said with not getting the timing quite right, or maybe getting mixed up in a different key, or even just forgetting to use the phrase at all making the process of adding it to my regular language possibly even more tedious and taking even more time than waiting through changes to play the line where it needs to be.

  52. Eunha So

    This is a great way to describe I – IV – V blues. It’s also great guideline to practice blues progression and the cadences which is really helpful. Now, I can apply these information to practice blues in twelve different keys.

  53. Nathan Baker

    It’s astonishing how much can be said with a strong tradition, even if that tradition is basically just 3 diatonic chords. The transitions of any piece of oftentimes the most mentally taxing and emotionally rewarding, because it’s in these spots of a tune that we find the meaning of any music. When you’re dealing with a type of song that only has 3 transition sections, the meaning is harder to pin down no matter how intricate of a transition you make it into, but when you learn to listen every note serving a purpose in moving the emotional content of the piece forward, the poetry of 3s-and-7s and ii-V resolving to I integrates with the spontaneous substitutions of the moment and forms a vehicle for the spirit of blues and pop that is one of the most robust musical vessels of all time.

  54. Greyson Elkins

    Cool stuff, I hadn’t ever thought about trying to play blues outside of the one scale, and this answered the questions I should have asked!

  55. Cooper Leith

    Thanks for the article… Here’s what I took away: Its the journey in the blues not the simple I, IV, and V that separate the boys from the men… When viewed like this (i.e. using ii-V in the key of IV) it opens up the realm for different ways to approach soloing rather than the ole’ blues scale we all like to overuse…

  56. Clayton Vye

    Nice Lynn. I can see how these ideas can totally free up someones playing, and serve as a compositional tool. I was a little confused in the ii chord section. You write that a harmonic motion commonly overlooked is the “transition from the tonic in measure seven to the ii7 in measure nine.”My question is: isn’t the V chord supposed to happen in the ninth measure? Or is that just the generic blues chord progression?

  57. Heather Church

    I understood this article as explaining that blues is more than just improvising in the key it is written in. I think what you were saying is that the improvisor has to go from generic (improvising within the written key) to adding a little more detail to their improvisation by using notes within each chord and by anticipating the direction of the progression. I compare this concept to a drummer setting up important hits played by the band. This anticipation not only makes the improvisor sound more unique, but it also allows listeners and others playing with the improvisor to react and accompany appropriately.

    Heather Church

  58. Daniel Sanchez

    Thanks for the article. is good to understand how the improvisation in jazz blues works. Having this knowledge makes easier the way to improvise and at the same time makes easier to understand changes and color in jazz blues. Thank you

  59. Colton Sparks

    Great article. It’s a good reminder to change things up every once in awhile as opposed to just continually playing in one scale. Good read.

  60. Jake Alvarez

    Great article! I always get caught up in the phrasing aspect of the blues. Because as a guitarist, I don’t have to breathe in order to play my instrument. So, this article was really helpful in reminding me that the blues really is just three different phrases where you move to and fro from the tonic up or down a fourth. It’s also quite helpful to keep in mind where you’re going when you’re improvising, yet another thing I think I glaze over when playing. I get too caught up in the figuring out where I am in relation to the chord, this and that technical scalar thing, or that lick to play here, and I forget to just think about where I’m going in the blues. That’s what I’ll be taking away from this article.

  61. Zach Raab

    I’ve worked on trying to learn phrases before but I always came to the problem of forgetting them as I moved on to other things because I’m guessing I wasn’t organized and consistent enough with my practice. I really like the idea though and I feel even though I may forget to play a lick, I still have built a better foundation for figuring out new and understand new licks and why they do or do not sound good. Something I never really thought about, was that what makes a good jazz soloist while blowing over the changes is how they make the transitions. You could probably just play only the transitions over your solo as long as they are hip and on point you could just let the rhythm section take over the rest until the next transition.

  62. Drew Dugan

    As an often overlooked genre of jazz in terms of complexity, the blues to most seems to be no more than a simple equation, both lyrically and harmonically. While this “equation,” I-IV-V, holds true for most all blues, it is imperative to understand that what the player does in between and specifically, in linking these chord changes is what opens this simple equation into a much deeper chamber from which one can express, exchange and then converse ideas. One prime example deals with “getting home,” the transition in the eleventh bar leading to the top of the form, which usually resolves to the tonic. This portion of the article particularly stood out to me due to its’ suggestion of using cascading ii7-V7 chords to add motion and tension during this part of the form. It is techniques such as this that are frequently used in other forms of jazz, yet oftentimes overlooked when dealing with the blues. I have even heard this technique used in modern electronic music to transition back to the top “theme” of said song, which just goes to show that it, being one of many additions to the blues a player can utilize, is something one should listen for, practice and adapt, and then apply to their playing.

  63. Larry Folz

    I liked the overall concept of the article. I specifically think the section that discusses aiming for the changing chords leaving the tonic. Such as moving to the IV chord in measure four to five or the iimin7 in measure 9. Listening to jazz legends play the blues will help in gaining a grasp of how the blues fit into a jazz concept, rather than listening solely to a rock guitar player play a blues in a rock form.

  64. Dylan Vessel

    Great post Lynn. I wish I would have had this a while ago! I didn’t understand most of these concepts until I heard Blue Mitchell playing on a blues. It was too tasty, I had to figure it out! Only then did I realize the jazz blues.

  65. Kevin Klemm

    Great essay! Can’t wait to try these ideas in context.

  66. Nicholas Miller

    This is a way to conceptualize jazz blues that I haven’t heard before, and one I will try to refer to when practicing. I first learned the blues in a less jazz-oriented context, and sometimes struggle to respond to more complex blues changes. This article pretty clearly gives me a list of ways that I can differentiate between rock and jazz blues, and expand my jazz vocabulary.

  67. Kengo Nagaoka

    Hi Lynn,

    The way you characterize the blues as a form that includes two tensions and releases got me thinking that these alterations that you mentioned (such as adding in ii-V7s) are just smaller tensions/releases in a larger form. As we learned in our previous theory class, what a player does during these tensions determine what kind of genre/feel they are going for.

  68. Riley Selleck

    Even though I did not listen to jazz blues until recently (within the last year or so), this article helped me contextualize the jazz blues that I have heard versus regular blues forms of more rock-based music. As a kid, I solely listened to rock, and all the adaptations of this style that I listened to were very similar, and indeed only used one scale to solo over a form. This type of blues is what really started my understanding and interest of the guitar, but now that I am reading this article, the jazz contexts make a lot more sense than they used to. With regard to soloing over blues forms while using jazz language, and especially after having taken Marc Sabatella’s theory class, I understand WHY the approaches described in this article make sense for effective improvisation, whereas previously (as in the beginning of last school year) I completely did not. Breaking away from a minor pentatonic provides a taste that does not occur otherwise, and sounds very signature to me compared to rock-based blues music. These tools described above are things that I have started to readily understand, even though putting them into practice on an instrument like guitar still gives me some trouble. Understanding that I can have quite a lot of harmonic freedom even though I can abide by guidelines such as those listed here is an important step for me; even though one may be allowed to play whatever they please within a pentatonic box, that is not real freedom, because it is strictly confined to a single “type” of sound. Twelve notes exist for a reason, and I often gravitate to places of comfort within a blues form because I like a certain note over a certain chord, but as the article says, there can be better choices. I will keep that in mind going forward, and now plan on listening to more jazz blues to round out my understanding of the points listed above.

  69. Mary Hannig

    It’s always inspiring to discover a new level to something as common as the blues. I enjoyed reading all of your suggestions and I’m already psyched to head to the woodshed to try them all out, particularly using cascading ii7-V7s on the way back to the tonic.

  70. Ryan DeHaven

    A lot of what I’m seeing in this article is, in a sense, review from what I spent a lot of my sophomore year in high school learning. Approaching a IV7 chord or a ii7 chord has to be done in a way that the player is confident in the new tonic of where they’re headed musically. This is important in not only blues, but in nearly any other jazz standard as well.

    For example: In standards, you can find many secondary ii V I’s that build into a temporary new key, and approaching blues changes in the same way can demonstrate a very mature understanding of the chordal harmony involved. Playing one scale can sound just fine over the blues, but grasping the advanced concepts of approaching each chord change with unique tensions and alterations can bring a whole new sound to your playing.

    While I understand this information quite well due to past teachings and I can identify it within the playing of professionals that I listen to, I have yet to fully apply it to my playing and take advantage of the knowledge it could help to gather in my head.
    ~Ryan~

  71. Hudson Knott

    Hi Lynn

    This is a great article, as I’ve been trying to find ways to deconstruct a blues. Practicing this will help me think more technically about a blues. Excited to apply it to my playing!

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