Académique Documents
Professionnel Documents
Culture Documents
ex 12a: A very basic 12 bar blues sequence This sequence was often slightly modified in swing, R & B and boogie-woogie of the thirties: I IV7 I I7 IV7 IV7 I I IIm7 V7 I IIm7-V7
ex 12b Often the secondary dominant is used in bar 8: I IV7 I I7 IV7 IV7 I VI 7 IIm7 V7 I IIm7-V7
Ex 12c There are also 12 bar blues sequences in a minor key: Im IVm7 Im7 I7 IVm7 IVm7 Im7 Im7 bVI 7 V7 I IIm7-V7
ex 12d: A typical minor blues N.B. In all of these sequences chord I is a triad (except on bar 4). In jazz blues sequences the tonic chord can be a major 7, however this is rare in real blues where chord I is either a triad, a dominant 7th chord or a 6th chord (the added note is used for colour rather than harmonic function as mentioned above), except on bar 4 where it is nearly always a dominant 7th leading to the IV chord on bar 5. Practical Example of 12 Bar Blues Sequences:
Basic Blues
C F7 G7 C F7 G7 or F7 C C C C7 C C-G7
Although some or all of the tonic and subdominant chords may have a minor 7 added, this is a blue note and does not have its usual harmonic function as a dominant chord (except in bar 4 where it acts a secondary dominant leading to the IV7 chord). The above example only introduces the 7th to the tonic at bar 4 to emphasise this chord change. It is not a modulation to IV as it would be in classical harmony. Blues musicians tend to use phrases and patterns rather than scale runs, though jazz variations of blues can be based on a 12 bar blues structure and can include jazz and blues style patterns alongside each other.
Jazz Blues
A simple jazz blues sequence usually changes to chord IV at bar 2 and back to chord I at bar 3 and uses a IIm7 V7 at bar 9 (often preceded by a secondary dominant). Early 12 bar jazz blues sequence (Typical of swing or jump blues) C F7 Dm7 F7 F7 G7 C C C C7 C or A7 Dm7-G7
This type of sequence is typical of 1930s-1950s swing, jump and R&B styles. More complex sequences were used in bebop Typical bebop blues changes C F7 Dm7 F7-F#o7 F#o7 G7 C C-Dm7 C-Am7 Gm7-C7 Em7-Eb7 Dm7-G7
ex 12e: phrases in 12 bar blues. As you can see, the second phrase is altered slightly to fit the different chords. This is extremely typical of blues.
Blues scales
Blues musicians use more than one blues scale, (and rarely use the blues scale in its entirety) however the scale that has come to be called the blues scale is similar to a minor pentatonic scale but with a #4th (or b5th) added. (ex 12g). I shall refer to this as the minor blues scale but bear in mind it can be used in major and minor blues sequences.
This scale can be used over all the chords of a basic 12 bar blues sequence, so in the key of C a C blues scale can be used over the F7 and G7 as well as the tonic chord. (Apparent wrong notes are acceptable in the context of blues, but the best place for them is usually dictated by experience and a feel for the style rather than academic rules). The secret of convincing use of the blues scale is to add a major 3rd (ex 12h) or combine it with a scale which is commonly used in rhythm and blues, swing or jump music. We call this the major blues scale (ex 12i).
ex 12j: Major blues scale combined with minor blues scale These scales need not be restricted to blues music, they can also work well over other sequences which do not have more than one key centre (e.g. I Got Rhythm A section) depending on stylistic context.
ex 12l: Typical blues horn riff. Note the melodic alternation between major and minor 3rd. The major 3rd of the tonic drops to the minor 3rd (7th of the IV chord) and back again. It does not take long for each member of an improvising section to remember his/her notes on a riff such as this, at which point it is easy for the leader to suggest another riff (rhythmic pattern) which everyone can play using the same harmony notes. This principle applies whether creating head arrangements for horns, voices, strings or whatever.