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    From: Jamey Aebersold's Jazz Handbook www.jazzbooks.com

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    Blues variations.pdf

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    From: Jamey Aebersold's Jazz Handbook www.jazzbooks.com

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    38 views1 page

    Blues Variations PDF

    Uploaded by

    buendiainside
    From: Jamey Aebersold's Jazz Handbook www.jazzbooks.com

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 1
    LW TUE AEA) M ree My last articlo dealt with tho Blues (12 bar blues), $0 | would liko to follow up with variations on the blues progressions that have boon in common use in the jazz idiom. The term “three chord songs” are usually referring to the simplest of blues progressions. If you are in the koy of F, the threo chords which form tho basis of the blues in that key are F7, Bb7, and C7. F7 is called a roman numeral | (one) chord. Tho Bb7 is called the IV (four) because itis built on the forth scale step of the F7 scale and the C7 is called the V five) chord (usually called V7 chord) because itis found on the fifth scale stop of the F7 scale. A three chord tune could also be called a song that uses only I, IV and V chords. volved in the hands of the jazz musicians across the country by way of the radio and home stereos, more and more musicians, played blues and naturally some would take liberties with the chord structure and alter the chords to match what they were hearing in their mind's oar. As the various alterations wore passed from musician to musician, they became part of the blues structure. | have listed 17 different blues progressions found in Dan Haorle's book “.Jazz/Rock Voicing for the Contemporary Keyboard Player", pub- lished by Studio P/R, Inc. The progressions read from left to right! The ones at the top are the easier, simpler progressions. As you move nt more of a challenge to the up anc coming jazz player. Its best to practice with one complote progression until you feel comfortable with it, then move on to the next one. You may also want to substitute a moasure in one blues with the same measure in another blues below or above. Number 14 is one that Charllo Parkor used on a blues called Blues For Alice and anothor called Laird Bird. Number 16 uses a stoady stream of minor chords (i) moving to dominant 7th chords (V7) usually called ii V7's or a sories of V's. Experiment with the various progressions. Bogin slowly so you can hear the root progression clearly. In time, your mind will remember it and you can move more rapidly. Try to ‘you are working on it. Fy Is a Koy process in improvising! Liston to jazz pla) if you can hear when they are substituting chords or scales or licks or patterns over the basic three chord progression. The masters do tall the time and with such ease that often our ears don’t even realize they have deviated from the basic progression being playod by tho rhythm section. You may want to check out Volume 2 “Nothin’ But Blues” in my play-a-long bookicd series. It contains eleven ditforont blues progrossions playod by the rhythm section and you can play and practice along with them. Bass playors and piano players can even tum off one channel of their stereo and substitute thomselves for th player on the recording. It is a great way to practice with a profes- sional rhythm section, In order to play blues, you have to listen to people who play blues. Listen to the finest players, always! Read from left to right! EXAMPLES OF BLUES PROGRESSIONS: by Dan Haerie (in the Key of F) Measure Not 2 3 4 5 6 7 8 ° 10 " 2 a) fT f fF bray A o o fv f 2 oF fr fr Fr Bor Br fr or br fr cr LF 807 f fr Bor aT fr or a fr cr 4.0F 87 f fr Bor aby or or a fr or 8 of 807 f ft by Bb) or om? cr fr omit or eof 807 " Fr Bor eT or ber cr fv ber cr nF 807 f Cmi7 fF? Bb7 = EBT FT Ami? 07 mz cr Ami? 07 mi? c7 eof 807 f cm? fF? Bey eT or om? cr Amit. 07 Gmi?_ cT oF 807 " Cmi7 FT Boy Bm? EF FY ET EBT OT Gm? © CT_—«BLT_AmiT._DY Gmit CT 10 FMT Em7 AT Omi7 G7 CmiT FT BLT © BOT = AT OT A-T_ObT Gmi7’ CT Db? Go? FT DY Gmit CT tt FW? Emi? Eb-7 Omi? Db-7 Cmi7 CbT BLNT —Bbmi?_ Ami’. AT Gi? CT Amit A°-7 Gai? Gb EM BOM? = «-AT.

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