BY KEITH WYATT

TEN IN-DEPTH VIDEO LESSONS ON ESSENTIAL BLUES

MUSICAL ELEMENTS AND GUITAR-PLAYING TECHNIQUES
 For over 35 years, KEITH WYATT has been
active as a guitarist and educator specializing in
American music. He is a prolific author of books,
instructional videos and columns on subjects
ACCENTED SPEECH
Emphasizing certain notes to make
ranging from theory and ear training to beginning
guitar methods and blues and “roots” styles. your licks come to life
Since 1978, Keith has been an instructor at the
world-famous Musicians Institute in Los Angeles,
where he also serves as Director of Curriculum.
Since 1996, he has been touring internationally
CHICKEN PICKIN’
Using your pick-hand
and recording with LA’s legendary Blasters.
FIngers to pluck strings and
create funky licks that “pop”
STRETCH MARKS
The art of precision “AIN’T GOT
string bending
THATSWING”?
HEY, BO DIDDLEY
Examining the legendary
Cracking the
jazz-blues code, part 1
bluesman’s trademark grooves
TAKING IT
THE ART Of THE fILL
Knowing when to chime in
UPTOWN
Jazz-blues, part 2
and when to hush extensions and
alterations
THREE INTO TWO
The sweet spot where SUBSTITUTE
“straight” and swing
eighth notes overlap TEACHER
Jazz blues,
LOWDOWN part 3: Adding
passing chords
AND DIRTY
Getting down in
and substitutions
to the 12-bar
the low register progression
 STRETCH MARKS
The art of precision string bending
String bending has been around since Fig. 1 1 A Dorian mode, descending
FIGURE Fig. 2 2 A Dorian mode, ascending
FIGURE
the earliest days of acoustic blues, but when 1 1/2 1 1 1 1/2 1 1  1 1 1/2 1 1 1 1/2 1

the electric guitar appeared on the scene, its
 20 20 19 19 17 17 15 15 
 
13 13 12 12 10 10 8 8 8 10 10 12 12 13 13 15 15 17 17 19 19 20 20
added sustain and dynamic range inspired
players to develop a new bending vocabu-
lary with new technical challenges.
T-Bone Walker, the first electric blues Fig. 3 3 A minor pentatonic scale, descending
FIGURE Fig. 4 4 A minor pentatonic scale, ascending
FIGURE
guitar star, limited his bending repertoire to 1 1½ 1 1 1½ 1 1  1 1½ 1 1 1½ 1

 20 20 17 17 15 15 13 13 
half steps, but by the mid Fifties his disciple
!

!

10 10 8 8 8 8 8 10 10 13 13 15 15 17 17 20 20 20
B.B. King had expanded the technique to in-
clude singing whole-step bends and vibrato.
A decade later, Albert King blew the lid off
the technique with swooping two-whole- Fig. 5 5 bending/releasing in continuous half-steps
FIGURE Fig. 6 6 releasing in continuous half-steps
FIGURE
step bends that inspired subsequent gen- 1/2 1 1½ 2 1½ 1 1/2  1½ 1 1/2 1½ 1 1/2
 2 1½ 1

 13  17 17 17 17 14 14 14 14 10 10 10 10 10
erations of string-stretchers to explore the
! 
 
13 13 13 13 13 13 13 13
outer limits of metallic elasticity.
Effective bending technique is based on
the twin pillars of strength: the physical
ability to reach and hold a note, and spot-
Fig. 7 7 slow blues
FIGURE
on pitch accuracy. The amount of strength

A7 D7 A7


required is a function of how far you want 1/2
1/2
1/2 1/2 1/2
to bend and how much resistance the string 1

5 7 5 7 7 5 5 5 5


offers. Your fingers will build strength 5 7 7 7 5 5 6 7 5 7 7 7 7 5 5
5 6 7 7 5 7 5 6
through exercise, but a simple rule is to al- 7 7 7
ways bend with two or three fingers togeth-
er rather than one finger by itself. Note, too,

3 3 3

 
that heavy strings are not a pre-requisite D7

 
1/4 1 1/2 1/2 1 1
1/2
for heavy playing: Albert King, a large man, 4
 !

used light-gauge strings tuned below stan- 5 5 7 8 8 7 7 5 5 7 5 7 10 10 8
5 5 7 5 5 7 10
dard pitch. 5 6
7
To develop your bending accuracy, play
any note, then bend up to that pitch from

3
two frets (one whole step) below until A7

1/4 1
1 1 1
you match it precisely. Get your fingers 7
 11 10 12  11 10 12 12 12 10 11  11 10 12 12 12 10 11
to memorize how much effort it takes to 10 8 8 12
10 10 12 12 10
raise the pitch one whole step, then repeat 11 8 11


the bend as a pre-bend—that is, use your
muscle memory to bend the note exactly to
3
pitch before you pick it. Pre-bending is an

E7 D7


excellent test of coordination between ear, 1 1 1 1/2 1 1½ 2 2
9

hands and instrument. 12 10 12
12 12 10 12 10 12 12 10 13 13 13 13 13 13 10
FIGURES 1–6 are exercises for developing


bending strength and accuracy. All are per-
formed on the B string, which is the slinki-
est and easiest to bend, but the same con- 3 3
A7 D7 A7 E7 A7
cept applies to any string. In FIGURE 1, pre-
bend and release each note as you descend 11  2 1/4 1
 1/4


the A Dorian mode (A B C D E Fs G). FIGURE 2 10 13 13 13 10 13 10 12 10
12 11 12 9 9 9 8 7 6
ascends the same scale. In each case, pre-
bend, pick and move up to the next fretted
note, bend and shift to the next, and so on. 3 3 3 3
FIGURES 3 and 4 apply the same concept to the FIGURE 5 requires that you bend in precise, continu- applies a similar concept to the notes of an A7 arpeggio
A minor pentatonic scale (A C D E G). The ously ascending, then descending, half steps, all the way (A Cs E G), culminating in a two-whole step pre-bend
minor third (one-and-one-half-step) inter- up to two whole steps. Be sure to check the accuracy of and gradual release. Finally, FIGURE 7 is a survey of string-
vals within the scale will challenge your your pitch by comparing the bent notes to their unbent stretching vocabulary, from quarter tones to two-step
ability to hit larger bends accurately. counterparts one, two, three and four frets higher. FIGURE 6 bends, compressed into a chorus of a slow 12-bar blues.
 HEY, BO DIDDLEY
Examining the legendary bluesman’s trademark grooves
Among the standard rhythms of Fig. 1 1
FIGURE Fig. 2 2
FIGURE
American popular music—shuffle, swing,
funk, rock and roll, country and more—

G
    G    
    
3 X 3 X 3 X 3 3 3 3 X X 3 X X 3 3 X

 
there is only one that is known by a proper 3 X 3 X 3 X 3 3 3 3 X X 3 X X 3 3 X
4 X 4 X 4 X 4 4 4 4 X X 4 X X 4 4 X
name. Buddy Holly’s “Not Fade Away,” 5 X 5 X 5 X 5 5 5 5 X X 5 X X 5 5 X

 
5 X 5 X 5 X 5 5 5 5 X X 5 X X 5 5 X
Bow Wow Wow’s “I Want Candy,” the 3 X 3 X 3 X 3 3 3 3 X X 3 X X 3 3 X
Who’s “Magic Bus,” George Michael’s
Fig. 3a3a
FIGURE
    
“Faith” and U2’s “Desire” all owe their
rhythmic appeal to Bo Diddley and his G Am/G

G

  
eponymous beat. Like his Chess Records 3 3 3 3 X 3 3 3 3 3 3 3 3 3 3 3 5 5 3


3 3 3 3 X 3 3 3 3 3 3 3 3 3 3 3 5 5 3
labelmate Chuck Berry, Diddley (raised 4 4 4 4 X 4 4 4 4 4 4 4 4 4 4 4 5 5 4
5 5 5 5 X 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Ellas McDaniel) forged a unique approach 5 5 5 5 X 5 5 5 5
3 3 3 3 X 3 3 3 3
to urban music, combining lyric themes
ranging from nursery rhymes to the dozens
(verbal street combat that was a precursor Fig. 3b3b
FIGURE Fig. 3c3c
FIGURE
F G F G G F
to rap) with rhythms that owed as much to
 
Africa as to the streets of Chicago. 5 7 7 7 7 7 7 7 7 5 5 5 5 5 5 7 10 10 10 10 10 10 8 8 8 8 8 8

 
6 8 8 8 8 8 8 8 8 6 6 6 6 6 6 8 12 12 12 12 12 12 10 10 10 10 10 10
As played by Diddley himself, the 5 7 7 7 7 7 7 7 7 5 5 5 5 5 5 7
beat was a hypnotic stew of maracas,
tom-toms and Diddley’s own reverb-
drenched, tape-delayed guitar. While 3 3 3 3
Diddley’s presentation was unique, the
Fig. 4 4
FIGURE
Medium Shuffle
beat itself was not his invention. Johnny
3 3 3
G C/G G G C/G G G C/G G
Otis (whose later hit, “Willie and the
Hand Jive,” featured the same beat)
  






3 5 3 3 5 3 3 5 3
recalled encountering it in the Thirties, 4 5 3 4 4 5 34 4 5 3 4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
and the rhythmic phrase “shave and a
haircut, two bits” goes back much fur- 
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

ther than that. Other antecedents are the Fig. 5 5

FIGURE 3 3 3
trance-inducing southern ring shout, the Fast Two-beat
juba dance and its related thigh-slapping
“hambone” rhythm, the Afro-Cuban son
A¨
   D¨/A¨


4 4 4


clave and Yoruba rhythms from Nigeria. 4 4 4 X 4 4 4 X 4 4 4 4 X 6 6 X
5 5 5 X 5 5 5 X 5 5 5 5 X 6 6 X
FIGURE 1 displays the basic Bo Diddley 6 6 6 X 6 6 6 X 6 6 6 6 X 6 6 X
beat, which Bo routinely varied, as shown
in FIGURE 2 (note that the harmony is based
on major triads rather than the sevenths Fig. 6 6
FIGURE
and ninths of traditional blues). Strum it Medium Straight-eighths Feel
with a loose, up-and-down motion, con- E A E
trolling the placement and duration of the
 

accents with your fretting hand by alter-
nately squeezing and relaxing your grip. 2 2 4
2
2 2 24 2
 0 0 3 4
2 2 4
2
0 0 3 4
2 2 4 2
2 2 4
2
0 0 3 4 0 0 3 4 0 0 3 4
The song “Bo Diddley” is a one-chord
vamp, but like Buddy Holly and Johnny
Otis you can also adapt the rhythm to 12- B A E
bar changes.   
The Bo Diddley style places rhythm
2 2 2 4 2 2 2 5 6
4 4 6 4 2
0
 2 2 4
2 
 4 2  4 2  4 2 

above all else, and Diddley’s solos appro- 0 0 3 4 2 42 4 0 0 3 4
priately favored chord-based ideas rather
than flashy licks (the single-note solos
on his records were generally played by named beat, Diddley was no one-trick pony. He also was a proto-hard-rock classic that opened with a de-
other guitarists). FIGURES 3a-c illustrate three scored hits with rhythm-heavy tracks, including “I’m scending pick scrape, a radical technique for the era.
typical melodic chord phrases. In each a Man” (similar to FIGURE 4), a hypnotic, one-chord vamp In both his playing style and choice of instruments
case, alternate the phrase with the basic with a deep blues feel, and “Who Do You Love,” based (he crafted a rectangular-bodied guitar later repli-
rhythm in a call-and-response pattern. on a pumped-up country groove, à la Chuck Berry’s cated by Gretsch and nicknamed “The Twang Ma-
While he is best known for his self- “Maybelline” (FIGURE 5). “Roadrunner,” similar to FIGURE 6, chine”), Bo did it his way.
 the art of the fill
Knowing when to chime in and when to hush
A fundamental building block of Fig. 1 1
FIGURE
    
(A) 1/4 1
the blues style is the concept of call-and-
response, a continuous form of interactiv-
 
       
8 8 10 8 10 8
 10
8



ity expressed through everything from solo 9 10 10 10
phrasing to the interplay between perform-
er and audience (check out the timeless B.B. 
   
King album Live at the Regal, in which the 1

audience is as much a part of the show as

         
10 10 8 8 8
the band). A form of call-and-response that 10 10 8 10 10 8
9 9 9
is built into most blues arrangements is the
fill (a short instrumental phrase between  
vocal lines). Fills can be composed, as in a 3
 
1/4 1/4
horn-section arrangement, or improvised, 1 1

      
as when a guitarist tosses off a spontane- 8 8 5 5
10 10 8 5 8 5 8
ous lick. In either case, the back-and-forth 9 8 5 6 7 7 7 5
7
between vocalist and fill creates an ongoing
musical conversation.  
While fills are easy to grasp in theory, 3 3 3 3
1/4
1/4 1 1 1/4
they can be slippery in practice. Two chal-
    
5 8 5

 
lenges emerge: first, since the space be- 5 5 5
5 5 7 7 7 5
tween vocal phrases is often quite limited,
fills must be equally brief, sometimes even
down to one note (the musical equivalent
  
3 3 3
of shouting “yeah!”). Second, during live Fig. 22
FIGURE
performance, a player must be able to Well my baby gone and left me Left me with a broken heart
A7 D7 A7
follow the singer’s phrasing and respond Fill
Slow Blues Shuffle Fill


instantly under always-changing condi- 1/4
1 1
tions. The solution to both challenges is 1
     
8 5

 

the same: develop a vocabulary of short 10 10 5 8
7 7 7 5
but complete phrases that can be quickly 7
plugged into whatever space is available.
The three primary ingredients of any
 
3 3
phrase are note, rhythm and touch (or ar- My baby gone and left me She left me with a broken heart I want to
ticulation—the way you shape each individual D7 A7 Fill
note). In tight spaces where the number of
     
1
notes is restricted, the importance of rhythm 4 3
Fill

      
5 8 10 (10 ) 8 8


and touch is magnified. To play effective fills, 8 9 10 10 10 8
5 5 6 9
you need to put your phrasing under a micro-
scope and edit ruthlessly. But the results will
benefit every aspect of your playing. After all,
  
3
if you can make a complete statement with a rock away from here but now my car won't even start
single note, your solos will speak volumes. D7 Fill D7 A7 D7 A7 E7
1 Fill
FIGURE 1 is a collection of mini-phrases 9
    
5 7 5

shaped to fit holes from one to four beats 5 6 7 8 5 5
in length (you can combine short phrases 7 7 5 5 6 7
7 7
to create longer fills). Rhythmically, guitar
fills are very similar to drum fills in that

3
they usually resolve on a downbeat; me-
lodically, they tend to end on chord tones. text of a 12-bar medium-tempo blues shuffle with ge- ments interact with the vocals (recordings by the three
The third essential factor, touch, doesn’t neric vocal phrasing. Note that the turnaround (the Kings—B.B., Albert and Freddie—are virtual fill text-
translate well to the printed page. To really last two bars) is also a fill that provides the final word books, as are individual tracks like “Further Up the
learn how fills work, listening is required. on each chorus. In practice, judging how well a spe- Road” by Bobby Bland and Guitar Slim’s “The Things
Fills are essentially carefully constructed cific fill works in a particular instance involves a num- That I Used to Do”). A great fill is a mini-masterpiece,
versions of your regular licks, and once ber of factors, and it’s ultimately about carrying on an and the proof is that before most of the world ever
you get a feel for economical phrasing, the effective musical conversation with the singer. heard of Stevie Ray Vaughan, it was his concise, sting-
variations are endless. To build your fill vocabulary, listen to great blues ing fills on David Bowie’s “Let’s Dance” that made
FIGURE 2 shows fills arranged in the con- singers and note how the guitar, sax and other instru- people sit up and take notice.
 THREE INTO TWO
The sweet spot where “straight” and swing eighth notes overlap
When you get down to basics, any Fig. 1a1a
FIGURE Fig. 1b1b
FIGURE Fig. 22
FIGURE
style of popular music starts as a beat, and Accompaniment:
    
FIGURE 1a FIGURE 1b FIGURE 2
Accompaniment:
7 7 7 7 7 7 7 7   7 7 7 7 7 7 7 7   7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 
  7 7 7 7 7 7 7 7 
from an analytical perspective, beats fall
into just two fundamental categories: di-

 7 7 7 7 7 7 7 7   7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 
7


vided by two and divided by three. The first
category includes even, or “straight,” eighth 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
notes (two equally spaced notes per beat) Guitar:
Guitar:
3 3 3 3
  3 3 3 3
  3 3 3 3 3 33
 3

 57   7 5
and 16th notes (four equally spaced notes

  7 7 7 7 7 7 7 7 
5 8 5 58 5
7 7 7 7 7 7 7 7     
per beat), which are the building blocks of 5 7 7 5

7 
57   7 5 
7 7


5 8 5 58 5
  
styles including rock, funk, Latin, and the 7 7 9 9 7 7 9 9 5 7 7 5
5 5 5 5 5 5 5 5 7
endless subgenres of dance music. The sec- 7 7 9 9 7 7 9 9
5 5 5 5 5 5 5 5 3 3 3 3
ond category is based on the triplet (three FIGURE 3
equally spaced notes per beat), which is the Fig. 33 shuffle
Uptempo
FIGURE
3 3 3 3
foundation of shuffle and swing and, by ex- shuffle
Uptempo shuffle B¨9
    66   
6 6 6 6 8 9 6


tension, blues and jazz. shuffle

    8
6 B¨9 8 6 7 8 9 8 6

    
For the first half of the 20th century, 6 7 6 6 8 9 6 8 6 7

8 
8 8 5 8

 straight 
   
6 8 6 7 8 9 8 6 8
the commercial popularity of blues and 6 7 8 6 7
8 5
   
jazz meant that divided-by-three beats 8
shuffle
dominated the scene, but during the
Fifties, pop music began a wholesale shift E¨9
straight B¨9 F9
shuffle
1/4 1/4
to straight (divided-by-two) beats that E¨9 B¨9 F9
persists to this day. As a rule, a groove 6 9 1/49 1/46 8 6 6 6
8 6 6 8 8 6 8
is based on either one or the other, but 6 8 9 9 8 6 6 8 9 9 8 6 8 6 7 6 9 9 686 6 6
8 8 8 6 6 8 6 8 8 6 8 8 6 8
certain recordings made during the 6 8 9 9 8 6 8 6 8 6 8 9 9 8 6 8 6 7
8 8 6 6 8 8 8
transitional period display a sort of 8 6 8
straight 3
rhythmic ambivalence, where both occur
at the same time. More than historical B¨9 B¨9
straight 3

 6 67
6 6 9 8 6
oddities, however, these provide some 8 / 11 8 6 B¨9 6 8 8 6 B¨9 9 8 6 6

  8 67
important insights into that essential but 8 6 7 6 7 6 9 8 6 8 6 7 8 6 7
8 5 8 8 5
  
8 / 11 6 6 8 8 6 9 8 6 6
elusive musical quality known as feel. 8 6 7 8 8 6 7 8 6 7 8 6 7 8
8 5 8 8 5
  
Exhibit A is Chuck Berry’s all-time rock 8 8 8
shuffle straight
and roll anthem “Johnny B. Goode.” The
original Chess Records track from 1956  E¨9
shuffle B¨9
straight

5   
6 6 6 6 9 6 6 6 6
features a veteran blues rhythm section 6 8 E¨9 6 7 8 8 8 6 B¨96 9 8 6 6

  7
laying down a swing beat while Chuck 6 7 6 6 7 6 6 6
6 6 9 6 6 6 6 8 8
8 8 5 8 5
 
8 6 7 8 8 6 8 6 8 8 8 6 6 9 8 6 6
simultaneously rocks in straight time, a 6 8 5 6 7 6 8 8
8 8 5 8 5
 
combination that lends the groove a magi- 8 8 8 8
shuffle 3
cal, floating quality absent from most of
the countless versions of the song record- 
F9 1/4
shuffle 3
 B¨9 B9 B¨9

6 6   B976 65B¨965
00
ed since. To approximate this straight- 6
F9 1/4 B¨9 8 6

  7676 6565 6565

over-swing feel, set a drum machine to
a shuffle at 100 beats per minute and on
your guitar play a single note in a straight-
eighth rhythm (FIGURE 1a). This may require
considerable concentration at first, but
once it becomes more comfortable, gradu-
ate to the classic Chuck Berry rhythm pat-
tern, i.e. a boogie rhythm with a straight
feel (FIGURE 1b). When played consistently,
the two feels blend into a rhythmic third
way that is neither two nor three.
Well before “Johnny B.” was recorded,
T-Bone Walker (a major influence on Ber-
ry) explored a similar effect by occasion-
ally soloing in straight time over a swing
groove (check out his showcase instru-
mental, “Strollin’ with Bone”). To simu-
6 7 6 6 6 7 6 8 6 7
8 5 8 8 5 8 5 8
 
8 6
6 7 8 8 8 6 6 8 8 6 6 8 6 7 8 6 7
8 5 8 8 5 8 5 8 7 6 6
 
8 8 8 8 8 8 6 5 5
late the results, play a minor pentatonic scale over more comfortable, like a well-worn shoe. The solo in
a swing beat while alternating between shuffle and FIGURE 3 alternates between swing and straight phras-
straight time (FIGURE 2). When you can make the shift ing. At faster tempos, the actual difference between
smoothly, apply the same idea to familiar phrases. This the two is subtle, but you can feel the effect.
blend of two and three also counteracts one of the most Like the blue note that exists between the minor
common pitfalls of beginning blues and jazz soloists, and major third, the in-between quality of three-into-
which is to interpret swing with an excess of bounce. two rhythm eludes notation (try transcribing Howlin’
Going the other way, reverse the exercise in FIGURE 2 Wolf’s hypnotic masterpiece “Back Door Man,” for
by soloing with a swing feel over a straight groove. example), but it’s one of the secret ingredients that el-
The combination creates a laid-back quality in your evates the simple musical components of blues into
phrasing that makes the groove feel roomier and something transcendent.
traight” and swing eighth notes overlap

to ba-
LOWDOWN AND DIRTY
LOWDOWN AND DIRTY Getting down in the low register
Ask yourself a simple question: Fig. 11
FIGURE Fig. 22
FIGURE
     
FIGURE 2a)
when you solo, how often do you play FIGURE 1 b) c) d)

           3    b)    3    c)   3    d)   3   

    
3 3 3 3
a note below the fourth string? If you’re FIGURE 1 FIGURE 2a) b) c) d)

    3     3   b)  3   c)  3   d)  3  
like most guitarists, the answer is rarely, if FIGURE 1 FIGURE 2a)

    357 5     3    b) 3    c)3    d)3   
FIGURE 2a)
ever. But while the treble strings are and FIGURE 1
   5 6357 5       23 4 2     3 4 7    3  7    3  
always will always be prime soloing real a)

    
  3 4   2   3 4 7      7 9      9 12 
estate, venturing occasionally into the

 
lower register can put a fresh, ear-catch-  5 7 55
5 63
    2 4     4 7  
8 
9 7  8  9 12

 
ing spin on your phrasing. Furthermore, 5 6 3 4 2 3 4 7 7 9 9 12

Fig.33 medium 
35 7 2 4 4 7 8 9 7 8 9 12
adding another octave to your range is al- FIGURE 3 medium 5 6 shuffle
5 3 4 2 3 4 7 7 9 9 12

 
5 7 A7 2 4 4 7 8 9 7 8 9 12
FIGURE 5 6 shuffle
  3 4
3 4 3 3 4 7 7 9 9 12
 3 medium
most like getting a new instrument with- 3 2
 shuffle 
A7         3       8 9     8 912  

A7 2 4 4 7 8 9 7 8 9 12
out spending a dime. FIGURE 3 3 3 4 7 7 9  9 12
3 medium   3 
 shuffle        3                   
shuffle
 3    1/4 1/4
FIGURE

   
   
 3 medium
Blues guitarists who have used low-end
A7 
    3  A7 1/4 1/4       3                
phrasing to notable effect include Freddie FIGURE
   
                           
  
King (“Sen-Say-Shun”) and Johnny

       1/4  
 
     4  5 
“Guitar” Watson (“Three Hours Past

0 2 00 2 33 1/433 1/4 0 2 00 22 33 22 00 22 2 00 2 0 00     5 5

1/4


Midnight”), as well as such capo-users 3
5 5

4  0 2 00 2 33 33
as Gatemouth Brown (“Boogie Uproar”) 4 5
3

5 5
1/4 1/4 3

4 
and Albert Collins, who were forced by 0 2 2 0 2 2 2 0 5 5 3
0 2 3 2 0 2 0 0 4 5

3


the clamp to move across, rather than 0 2 D7 2 2 0 5 5 5 5 3

  00 22 0 22 3 3 
0 2 3 230 2 0 0 43 5 3
0    
5 5
3 3

  2 3 2 30 2  
down, the neck. All favored bright tone 0 2 D7 2 2 0 5 5
0 2D7  2 0     5
3

     3     3          3  3
3
 
0
 
0
5     5  5
43 5 3 3

 
4     
    2

          3   D7    3                3   3 

and employed a strong attack, factors that 4 3

combine to make the low strings “pop.”

 
A useful way to begin building your
              3   D7    3                3   3 
1/2 1/2
4

                         5 5 5     

low-end vocabulary is to simply transpose 1/2 1/2

   4   0  1  2 0      2 0 2 0   5 5  3   7 5 5 5   5  3 5 5 5 3
familiar licks down an octave. You can use 1/2 1/2

5 
your ear to hunt and peck, but the pro- 2 1/2 2 1/2

3 5 7
2 5
7 
3
cess becomes much more efficient when 4 0 2 0 0 3 7 5 3 5 3

3 2 1/2 2 1/2 5
5 2 5 0 1 2 2 3 5 5 5 5 5 5 5
you mentally organize phrases based on 7 

4 0 2 0 0 3 7 5 3 5 3

3 2 2 5
5 5 5
3 A74
5 2 5 0 1 2 2 5 5 5E7   5 5

  A7A74
7 3

 
their relationship to the scale rather than 0 2 0 0 3 7 7 5 3 5 3 3

3 3 2 2 3

5 2 5  0 1   
 
5 2 5 0 1 2 2 5 5 5 5

 E7
3
E7 5 5 5
5  7
7
 
as specific fingerings. For example, analy-
7   
3
 
3 0 2 0 0 3 3 7 5 3 5 3 3
  5 35 
3 2 2

   3   3      33 
 E7

2 2 3 5 5

  A7  3   3    

sis of FIGURE 1, a blues lick fingered in its
      3     
7   A7  E7
 3 
7
usual position, reveals that it consists of
   3   3        3 

   
the minor third, major third, fifth, sixth
    7 5  4                       
and octave (f3-3-5-6-8). To play the same
7 5 7  3 
  2  4

2    0
0 0 0 0 2 0 0
5
lick anywhere else on the neck (or in any
other key), you just need to locate the ma-
5 7 5
7
7
4
7 5 7
4
3 4 0 0 2 0 0 0 2  4 2 0 0 2 0
jor scale pattern in the new location and 5 7 5 4 0 2 0 2

0 2
5 7

7 7 5 7 3 4 0 0 0 0 2 4 2 0 0
10 5 4
replicate the sequence, which is the same D7 3A7 4
0 2 0 2
E72 0 2
A7

7 7 5 7 0 0 30 0 32 4 0 0
D7 3 5 7 4 7 5 7
5 7
3 30 3 3 3

 3  3 E7 3   
10 2 0 2 0 2
regardless of the key or position. D7 A7 4
 E72 A7

D7  3               3   3    3  

3 0 3 30 30 3 0 32 4 3 0 0
10 0 2 0 2 0 2

 3   3  E7 3 
The tricky part is that there is usu- A7 A7

 D7  3               3  3 3 
10
 3  3  E7 3    
A7 A7

     3   3    3 
ally more than one way to finger the same
   3        
10 A7   
      
phrase. FIGURES 2a-d show four options. Out A7

                        0   0     
9 0 0 10
of context, all choices are equal, but when
you surround them with other phrases, 2   3  2 0 2 2 0 0 2 0     5 5 0 0 7 0 0  8 0 0
0  0  0 
0 11 
12
0 12 12 14
2 3 2 0 2
3
one usually emerges as the best. At first, 0 0 0 0 0 12
this process of analysis is quite time con- 2 0 2 3 5
0 5 7 0 8 0 9 0 10 0 11
0 12 12 14
2 
3 2 0 2 0 0

0 0 0 0 0 0 12
suming, but when you develop the habit 2 
3 2 0 2
2
2
0
0 2
0 2
0
3 5 5

3 5 5
0
0
0
7
7
0
0
0
8
8
0
0
0
9
9
0
0 10
0 10
0
0 11
0 11
0
0
0
12 12 14
12 12 14
12
of learning phrases as portable sequences
rather than position-specific shapes, it
2 
3 2 0 2
2
0
0 2
0

3 5 5
0
0 7
0
0 8
0
0 9
0
0 10
0
0 11
0
0 12 12 14
12

speeds up dramatically.
FIGURE 3 is a 12-bar solo played exclusively
on the three lowest strings. To give the
notes more presence, use a middle or bridge
pickup combined with an aggressive attack,
including bare-finger string pops. Furthermore, for
additional phrasing options use open strings when
available, as demonstrated in the final three bars of
this example.
 ACCENTED SPEECH
Emphasizing certain notes to make your licks come to life
The fundamental elements of a blues FIGURE
Fig. 11 Fig. 22
FIGURE
     
FIGURE 1 FIGURE 2
    5 

phrase—or any musical phrase, for that
 
5 8 5
FIGURE 2 5 8 55 88 55 8
5 5 5 55
FIGURE 1
  
  55 77 55 88 5 8 5 88 
matter—are melody, rhythm and articula- FIGURE 51 7 5 8 5 8 5 8 5 FIGURE5 27
 
7 5 7

  5 7 
5 8 8 5 8 8
tion (also known as touch). On the guitar, 5 8 5 7 5 7 7 5 8 5 7 7

 
 
7 5 5 8 5 8 5 8 5 7

 3 
touch is a product of both hands—the 7 5 5 5 7 5 8 8 5 7 5
7 5 7 5 7 7 5 7
fret hand executes techniques like string 7 7

8
FIGURE
Fig. 33    
bending and hammer-ons, while the pick
8
FIGURE
hand is primarily responsible for express- 3  5 8 55 8  

FIGURE 5
7 5 7 5 8 5 8 77
 7 55 77 55 88 5

ing dynamics, which encompass volume, FIGURE 3 5 5
5

 77 5 7
5

intensity and tone. 8 5 5 7


8 5 8 5 7


To understand the importance of dy- 8 5 7 5
7 5 7
namics, consider how they influence our 7

  5  5  5 

FIGURE 4
5
FIGURE 4
perception of the spoken word. A prime
4 5 7 5   
  5 6 55 77 5 5 7 5 5  5 7 5 
example is Dr. Martin Luther King Jr.’s
 45 6 5 7 5
Fig.
FIGURE 4
    5 6  5 7  
  5 6 5   
7  
 5 6 5 7 
5 

 5 6 5 7 55   5 6 5 7 55    
FIGURE 7 5
5 6  5 5
“I Have a Dream” speech. After hear-

  55 66 5 7   55 66 5 7    
5 7 5   5 7 5 
ing it once, you may not be able to quote 5 6 5 6

5 6 5 6  5 6 

5 7 5


much more than those four words, but 5 6 5 7 5 6 5 7 5 6 5 7
 3  3  3
 3  3  3  3  3
you can’t forget the dynamic intensity 3 3

FIGURE 5Medium shuffle

of the delivery. Now imagine the speech
delivered by text-to-voice software. The 3 3 3 3 3
FIGURE 5 Medium
3 shuffle 3 3 3 3


words are the same, but they don’t stick. A7

FIGURE
Fig. 5 5 Medium shuffle

A7 1
FIGURE 5 Medium shuffle 1 1/4
Dynamics have the same effect on music,
 5
5 A7 1 5
 10   55
5
1 1/4
   5 6
5
 
A7

  55
and if you don’t manage them, a signifi-
 5 7   5 6
5 5 8 81 5 10 10 5 8 5 7 11 5 5 5

5 8 1/4
6 5 81 5 7 51/4

  5
8 5 8 10 10 10 8 5 5 5
 5   5 6
cant part of your message may be lost. 6 5 5
 10 5 7 5 7 7 5 5


5 5 8 8 5 5 8 10 10 5 8 5 5 7 7 5 5

 
The first step in our exploration of 6 5 8 8 5 10 10 10 8 5 7 5 5 7 5 5
 
8
6 7 5 7 7 5 7 5 6

1 1
dynamics is to pluck a familiar minor 7 7
3 3 3 3 3
D7 1/4
 
pentatonic scale pattern with your bare 3 3 3 3 3

1/4
D7 1/4 1

8 
 8 5
thumb and finger, as shown in FIGURE 1. 3 1 1 3 3 3
1/4
1 3
3 D7 3 3 3 3
 5   8 5
5 8 1/4 5 7 5 7 5
8 
An uneven attack creates dynamic varia- D7 1/4

 5  88 55
5 7 15 1 7 8 5 1
 6 5 5 8 1/4 5 7 5 7 15 717 5
1/4 7 5 717 5
tion, but with random results. Now play 7 7 8 5
  5  
6 5 8 5 7 5 7 7 7 5 7 5 7 5 7 7 5 7
the scale again, this time focusing on 8 5 5 8 5 7 7 5 5 7 5 7 7 7 5 8 5 7
8 6 5 7 7 5 7 7 5 7 8 5 7 7 5
 3 
7
control. Sound the first note by brushing 5 6 7 7 7 5 7 5 7 7 5 7

 3 E7
7 5 7 7
3 3 3 3 7 3 3


the string with the side of your thumb, A7 3 3 3 3 3 3
then attack the next note by hooking A7 
5
3
3 3 3 3 E7 3 3
one of your pick-hand fingers under the
5   5
A7 3 5 8
3 5

3

3 3 5 E7
7 5 73 5 7 5 73 5 5
8
A7 E7

5 5 6 7 5 5 6 7 5 5 7
5
 5 7 7 7 7 5 5
5 5 5
string and snapping it back against the 6 5 6 7 5 5 6 7 5 5 7
  5  
5 5 6 5 5 5 7 5 7 5 7 5 7 5 5
fretboard (FIGURE 2). Repeat the exercise 5 5 5 8 5 6 7 5 5 6 7 5 5 7 5 7 5 7 5 7 5 5 7 5
6 5 8 6 7 5 5 6 7 5 5 7
using the opposite dynamic pattern (FIG-

5 6


URE 3). Now use your pick—you can still 3 3 3 3 3
create dynamic contrast, but you also
D7 3 A7 3 3 3 E7 3

 5
D71/4 1/4 A7 E7

3 1 13 3 1 3 3


3 3 3 3 3
 
give up that breathy, barely-there brush D71/4 1/4 1 A7 1 1 E7
D7 A7 E7
5 5
8 1/4 81/4 5 7 5 5 5

and aggressive snap. The unique quality
5 5  
7
8 1/4 7
81/4 5
5 7 7 5 8 5 1 8 15 5 8 5 1 5
of bare fingers is why influential players 7 7 5 7 8 5 7 17 5 8 1 5 8 5 717 5 5 6 5 5 6

8 8 5 7 5 7 7 5 7 5 7 7 5 7 5 6 5 6
like Albert King and Albert Collins opted 8
7 8
7 5 7 7 5 8 5 7 5 5 8 5 5 8 5 7 5 7 7
7 7 5 7 8 5 7 7 5 8 5 8 5 7 7 5 5 6 5 5 6 7 7
for the no-pick approach, though hybrid 7 7 5 7 7 7 5 7 5 6 5 6
7 7 7 7
3 3 3 3 3 7 7
picking—using a flatpick in tandem with 3 3 3 3 3
the fingers—offers a compromise. Play 3 3 3 3 3
3 3 3 3 3
the pattern again, alternating flatpick and
bare finger for the best of both worlds.
FIGURE 4 illustrates the effect that shift- shuffle feel and built around varying dynamics. The
ing dynamics can have on a classic blues first four bars are played softly, bars 5–8 with a bit
riff, akin to changing the emphasis in a more power and bars 9–12 with a hard attack. Play
sentence (e.g. What are you looking at? with a clean tone to hear the dynamic detail, as dis-
What are you looking at?). FIGURE 5 illus- tortion also adds compression, which limits your dy-
trates a solo played over a medium-tempo namic range.
 CHICKEN PICKIN’
Using your pick-hand fIngers to pluck strings
and create funky licks that “pop”
IN THE LAST CHAPTER WE EXAMINED THE  = downstroke w/pick  = upstroke w/pick m = pluck string w/middle finger
role of the picking hand, particularly the Fig. 11
FIGURE  = downstroke w/pick  = FIGURE
Fig. 22 w/pick
upstroke
 1  m m = pluck  string w/middle finger
 =m downstroke
use of bare fingers, in creating dynamics and
  w/pick 
* m 1/4
adding dimension to your phrasing. Early m = upstroke w/pick m = pluck string w/middle finger
 102 1 X 10m 10 X 10m 10 8 1/4 
FIGURE 1 FIGURE 2

* 1  w/pick
 X*   10 1 X 10m 10 X 10m 10 8 1/4 
in the electric blues era, this bare-handed
approach was especially popular among
FIGURE X
 =m7 downstroke
X 7
m  FIGURE
= upstroke w/pick m = pluck string w/middle finger
 2
 X*mute 7 while picking  10
“down-home” (rural southern) players, who m m

  1 X 10m 10 X 10m 10 8 1/4 

FIGURE 1 7 X 7 FIGURE
also developed a variation on bare-fingered

 *mute string w/pick-hand middle finger while picking 


* string7 w/pick-hand X middle finger
technique called chicken pickin’. The musi- m m

10  10  m X 10m1 101/2 8m1 

cal potential of imitating hens clucking in a FIGURE 3 FIGURE 4

 1 
    m 
X 7 X 7 10 X
m m  m 
barnyard may be sowmewhat limited, but Fig. 3 Fig. 1
4 1/4

1 4 X 13 13 X 131 131/2 X 131 13 11 13 111/4

FIGURE 1/2
3 string w/pick-hand middlemfinger while 1 m 1/4 FIGURE 4 1/2
*mute picking m m
the technique also opens the door to a vari- m
*mute   
 131 X 13m 131/2 X 131 131/2 X 131 13 11  13m 111/4
FIGURE 3 3 6 FIGURE 13
    
  3  X mX X m4 4 m 6 m 6 6 X 6 6 4  4 m m m
ety of funky, percussive phrases. 4 1/2 4 61 6 6 1 X m6 6 41/4 1/2 m m 13


string X X X
w/pick-hand middle m finger m
while picking
m 
Basic chicken-pickin’ technique works m m
1/2 3 1 6 m
 131 X 13 13 X 131 131/2 X 131 13 11 13 13 111/4
1
 
1/4

  5  X mX X m 1/2 m  1 m  1  m 1/4 FIGURE  6

as follows (FIGURE 1): holding the pick FIGURE FIGURE 13
3 6

  m 
  
between your thumb and index finger, rest 4 4 6 6 6 X 6 6 4 1/2 3
the tip of your pick-hand middle finger on FIGURE
Medium
 
3 6 13 X 13 13 X 13 13 X 13 13 11 13 11
the same string as the note you’re fretting.
     
Fig. Fig. 66   * m  m  m9 m9 3  
4 4 6 6 6 X 6 6 4 * 3 13

 55 X X C713  13 13 
FIGURE 5 C7X X X FIGURE 6 m m m m
1 1 1  FIGURE
Pick the string with a downstroke of the
X X 3 3 3
Medium

  35 XX XX C7313  313 313 3 1 2 3 XX XX 313  313 313 3 1 2  FIGURE   6  10* m10 m 10 m9 m9 3 
X X 2 2 2 X X 2 2 2 
flat pick (producing a muted thunk), and FIGURE 8 8
then pluck the string with an upstroke of Medium 7 10

 3 XX XX 123  123 123 1 2 3 XX XX 123  123 123 1 2    

 
your middle finger (producing the actual FIGURE
 10*partially   fingers
8 8

X X 3 3 3 3 X X 3 3 3 3 
7 10
 
Medium

 Medium  
FIGURE 7 X X 2  2 2 X X 2 2 2   m7 10 10m 10 m m
note). Return the middle finger to its rest- * 10 mute 10 strings
89 9w/fretting
8

3 X X 3 3 3 3 X X 3 3 3
C7
1 1 1 3 1 1 1 3 
ing position and repeat. Once you mas-
    7 10mute strings   fingers
1 2 1 2 10

 37 XXX* XXX 323 m323 323 1 m2 3 XXX XXX 323C7m 323 323 1 2    * m 10*partially
  7* 
ter the basic choreography, the “cluck”
 
*partially 9* 9w/fretting
FIGURE 8 8
is enhanced when you combine chicken m m

Medium
  
10 10
mute strings w/fretting fingers
FIGURE
 10* 7m 10 10m 10  m7 *partially  mute  m 9
pickin’ with string bending. 3 C7 3

   m  m 
* *
FIGURES 2-4 show typical chicken-pick- Medium 8 9
m 10
m 8

    m  10m  8m 9
C7 strings
* w/fretting fingers
Fig. 7 *
9
10 10 10
 10 7 10 10 10
FIGURE 7

  * 7m  10m  * m9

in’-style phrases. Downstrokes with the m
   10* 7 * 10 10 10* * 8 9
8
pick are indicated; the rest of the attacks Medium

  10
 m7 10 m m 10m m m
C7
10  m  m 
8
are upstrokes with a bare finger (typically
2 m
10  * m 9  m   m9 m9  
the middle). The first example demon- 10 m m 10

  7 7 * m 10 10m *8 8m 9 9


8
strates chicken pickin’ combined with a 2 10 8 8
m 8 10
    10 m 10 m 10 m9 m9 
7 10 10 7
 10* m 10 10m 10* 8m 9
string bend. The second opens with sev- 10 10 10 10
*
2 m
eral clucks on a muted string before add-
    F710* 7 10 10 10 9 9   10* 7 10 10 10* 8 9
8 8
10 8

    m7 10 m 10 1 m
ing a bend, and the third uses a series of
1 10
8 8
2 10 m 8 m
7 m
10 m m
m * m * m * F7  m  m  m9  m9   m  m  m10  8 9
half-step bends and releases for the ever-
4  
10 10 1 10
*
popular “crying chicken.”
   10101 X7 1010 X 1010 1010 X 10 X 10 X 10 1 X 10 10 X7 10 10X 10 X10101 10 8
8 8

  10* m9 10* 10m 10* 11m 10* F7 1  m  m m m  m m m  

Though chicken pickin’ is closely asso- 10 8

 * 10m  * 11m  * 10 X 10m X 10m 10 X 10m X 10m X 10 1 X 10m 10 X 10m X 10m X 101 10 8 
4 10 8
ciated with traditional country music, 10
4  

*
it also meshes perfectly with another m
 10  10  10 F7 1
8 9

C7 10* m9 10* 10m 10* 11m 10* 10 X 10m X 10m 10 X 10m X 10m X 10 X 10mG710 X 10m X 10m X 10 10 8 10
down-home staple: the funky boogaloo 10 10 10
8 1 1 3
(or soul blues) groove that propelled many 4 10

 m 9 m10 10  10 11 m10  10m X 10 X10 10 mX 10m X 10m X 10m X 10G7 10 10mX 1012m X 10  1012m3 810m10
soul hits in the Sixties (FIGURE 5 is a typical 1/4 m
7 m 8 X 10

5  X  X
rhythm example). The last example (FIGURE 6) 10C710
 12m 10m
13 13

10  m 8   m  m     mX X G7  m m  m
111/4 11 11 3 m
extends the technique beyond the barn- C79

8
7
 10 12  13 13  12m3 10
m m m m m
m m  8 m 8 m 8 6 8 8 m m5  mX  X mX X G7
yard; when you fret the notes, press them 10 10 8 6 8 6 7 6 7 1/4 10 12 13
m 13
7 m 11 m m 11 11

 7  
only halfway down (flat-pick the fifth 8 9
C7 10 8

8 m8 8 m6 7 8 C7m6 8  8 m7 m5 mX X mX X  G710m 12m  13m 13  12m 10

11 11 11
10  m 8 
string and finger-pop the rest). The result- 8 9 10 10 8 36 8 6 7 6 1/4 m
7 F7 m m
10  9 m m  m3 8 8 m  8 6  8 m 8 8  5  X  XX X 11G7 11   11 
ing half-pitch/half-percussion effect sub- 10 m 10 8 6 6
stantially increases the funk quotient of

 m8 10m10  11m1011 8m86 8 8108 m6 8 7 9 8 C7m68 88 m 8 8 7   10 8 9 10 8  G7

F7 8 1010 8 11 11 8 C7
9 109 109 109 109 
8
8 8
practically any lick. FIGURE 7 is a 12-bar solo 9 10 10 3 11 8 8 m 11 6 8 8 8 8 8 8 8
10 F7 10

10   11m 11 m83 11 8 10 m8 8 9 8 8 11m  8 8 8 10 8 9   10 10 8 10 8 10 8 10  
over a boogaloo groove that demonstrates
9 10 m m 10 8 10 8
a variety of fine-feathered phrases.

  m    10 8 9 10 8  109 109 109 109 109 

8 10 10 10 10 10 10
For more examples of percussive chicken- F7 C7 10 8 G79 9 9 9 9

10  m m  m  10  m 
9 10 10 11 8 8 11 8 8 10 8
10 8
10 108 10 8 10 8
m 8 9 m
pickin’ phrasing in a blues context, check out
8 8 8
10 10 10 
8 10 11 11 8 8 8 10 10 10 10 10 10
anything by Albert Collins. Using his bare 9 10 10 11 8 8 11 8 8 8 8 8
10 8 9 10 8 9 10 10
thumb and fingers to pluck the strings, he ele- 10 8 9 9 9 9 9
10 10 10 10 10 10
vated string popping into one of the most dis-
tinctive electric blues styles of his generation.
 “AIN’T GOT THAT SWING”?
Cracking the jazz-blues code, part 1
THOUGH IN CERTAIN WAYS JAZZ AND BLUES Fig. 1 1 Medium shuffle
FIGURE
would seem to represent opposite musi-
cal poles—complex/rudimentary, intel-
FIGURE A7

1 Medium shuffle
               sim.
 
FIGURE A7 1 Medium shuffle
               sim.

lectual/physical, technical/intuitive—they
      7 9 9 7 7 9 9  7 9 9 sim.
A7
evolved from common sources. Now, 100


FIGURE 71 Medium shuffle

7 9 9 7 7
years later, they remain inseparable at 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5


    757 757 959 959 757 757 959 959 757 757 959 959 sim.
FIGURE A7 1
7 Medium
7 shuffle
9 9
heart. Over the next few lessons we’ll take
     5 5 5 5 5 5 5 5 5 5 5 5 sim.
A7 5 5 5 5
FIGURE 71 Medium 7 shuffle
9 9
a look at how to crack the jazz-blues code,


FIGURE A725 Swing 5 5 5
beginning with a comparison of standard      7E¨7 7 9 9 7B¨7 7 9 9 7 7 C#º79B¨/D 9 D7 sim.

Fig. 2
    
B¨7
FIGURE 27 Swing A¨/C C#º7 B¨/D
 57E¨7
blues and jazz rhythm styles. 7 9 9


FIGUREB¨7 257 Swing
5 5 5 sim. 5 5 5 5 5 5 5 5 5 5 5

    
7B¨7 A¨/C C#º7 B¨/D 7 C#º7 9 B¨/D 9 D7
X 575E¨7
When blues and jazz were first cap- 7 9 9 7 9 9 7 9 9 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

     
B¨7 sim. 7B¨7 A¨/C
98 C#º7 B¨/D
710 X7 C#º7 B¨/D 9 D7
X sim.
tured on records in the early Twen- 7 7 77 79 79 6 76 96 96 X 7 77 99 9 9 10 11
FIGURE 625 Swing 65 65 65 X 5 55 55 55 X 5 6 56 56 58 5 85 X 58 8 5 8

  
ties, they had much in common, includ-
FIGUREB¨7 276 Swing
7 7 7 6 6 6 6 X 7 7 8 C#º79 10 X C#º7
9 B¨/D
10 11
  
6 6 6 6 X E¨7
6 6 6 6 X B¨7
6 6 A¨/C
8 9 B¨/D
10 X 9 10 D7
11


X E¨7
ing a shared triplet shuffle-based rhyth- 6 6 6 X 5 5 5 5 X 6 6 6 8 8 X 8 8 8
276 Swing
7 7 7 X 6 6 6 6 X 7 7 8 9 10 X 9 10 11

 7   
FIGUREB¨7 sim. B¨7 A¨/C C#º7 B¨/D X C#º7
8 B¨/D D7
 E¨m7
mic feel. But it wasn’t long before the 6 6 6 5
6 5
6 5
6 5
6 X 6 6 6
8 8
9 8
10 9 8
10 8
11


6 767 767 767
B¨7
E¨7 E¨7
sim. B¨7
B¨/D A¨/C
8 C#º7 B¨/D
G7 X C#º7
9 B¨/D D7
X E¨m7sim.
6 6 6 6 X 6 6 6 6 X 6 6 9 10 10 11
E¨7
two styles began to settle around differ- X 6 6 6 6 X 7 7 8 9 10 X 9 10 11


X 5 5 5 5 X 6 6 6 8 8 X 8 8 8
ent interpretations of the shuffle. For B¨/D G7
E¨7 12 7 12 6 12 6 126 X X 115 6 116 116 116 XX 107 107 108 109 10
10 X10 9 10 10X 11
10


blues, it was the boogie shuffle, based on 11 67 11 7 11 7 117 116
X X E¨m7
6
6
115
6
6
115
6
6
116 XX
5
X 86
B¨/D
7 867 868
8 889
9
10
98
G7
10
X9 89 9 108
X10 9 10 10X
11
98
11
the driving boogie-woogie piano style 12 6
11 12 6
11 12 6
11 126
11 X X 11
X 6
115 6
115
11 6
115
11 6 XX
115
11 106 106 8
106 109
8 10
10
10
8 X10 8 8X
9 10 10 X 10
11
10
8
11 11 11 11 X 11 11 11 11 XX 10
8 10
8 10
8 10
8 9 9 9 X 9
that featured heavy downbeats in the left 12 6
E¨7 12 6 12 6 126 X X E¨m7
116 116 116 116 XX 106
B¨/D 106 108 109 10
10
G7 X10 9 10 10X 10
11
11 11 11 11 X 11 11 11 11 X 8
10 8
10 8
10 8
10 9 9 9 X 9
E¨7 10 10 10 X 10
hand alternating with prominent upbeats C7
11 11 XF7 E¨m7
11 11 11 11 11 B¨7
11 X B¨/D
D¨7
10 10 C7
10 10 B7 G7 B¨7
12 12 X 11 12 11 11 12 11 X 10 10 10 10 10 10 10 X 10
 
in the right. Adapted to the guitar, it has E¨7
11 11 X E¨m7
11 11 11 11 11 11 X B¨/D
8 8 8 8 G7
9 9 9 X 9
C7
12 F7 B¨7 D¨7 C7 B7 10 10 B¨710 X 10
remained the go-to blues rhythm pattern 912 X 8 11 9 12 11 811 12 11 X 7 10 10 10 10

 
9
11 9 8 8 XX 7 810
10 10
10 89
10 98
10 8 9 8 7
9 B¨7 9 X 9
C7
8
12 8 811
12
XF7
X7
11
118 11
7 12
11
7
11 711 11
11 XX
12
11
B¨7
116 X
X D¨7
6 10 9 89
10 C7
9
10 9
10 B7
7 10 7 10 6 10 X 10
ever since (see FIGURE 1). For jazz, it was
 
11
9 9 911 X 8
8 118
9 11
8 8
11
8 8
811 X
11
XX 116
7 X 7 10
810 10
10
89 10
9
88 10
98 8 9 7 8 9 67 9 X 9
8
8 8
8 8
8 7 8
7
8 7 7 X X
X 6 6
6 9
9 9 9 8
9 7
7 10 7 10 6 10 X 10
swing, with a steady, light quarter-note 9
11 9 911 8 11
XF7 8
9 11 8
11 811 XX
11 117 X 7 10
10 10
10 9
10 9
10 8 8 7
C7
8 8 8 7 7
8 7 7 X X B¨7
6 6 D¨7
9 9 C7
9
8 9
8 B7
7 7 B¨7
6
pulse, sparse upbeats and a more “float-
 
C7 8
F7 8 8 8 X B¨7
ing” feel. Assuming you’re already famil- FIGURE8 3 Swing
8 8 8 X 6 6 D¨7 9 9 C7
8 8 B7
7 7 B¨7
6
B¨9 
9 9 9 9 X 8 8 8 8 X 7 7 10 10 9 9 8 8 7
C7
8 8 8 8 X F7 B¨7 6 D¨7 C7 B7 B¨7
iar with the blues boogie shuffle, let’s FIGURE9B¨63 Swing9 (E9) E¨9 87 7
8 (A6)
7
8 B¨6
7 X 6 9
7B¨6 7(B9) 10
B¨9 9
10(E9) E¨9
9 9 7 7
E¨7 (B9)6

B¨9 
9 9 X 8 X 9 9 8 8 7


00 00
look at how to capture a swing feel. 8 8 8 8 X 7 7 7 7 X 6 6 9 9 8
9 8
9 7 7 6

00 00 00 00 00
FIGURE 63 Swing
 
9B¨6 9 9 (E9) 9 X E¨9 8 8 (A6)58 B¨668 X 7B¨6 7(B9) 10
B¨9 10(E9) E¨99 9 8 E¨7
8 (B9)7



In a classic swing rhythm section, 8 8 8 8 78 X 6 7 7 77 87 X 6 8 6 7 69 6 9 7 69 8 69 8 7 87 76 6


B¨6 (E9) E¨9 8 (A6)68 B¨6 B¨6
7 (B9)
6 5B¨95 (E9)
7 E¨9 E¨7 (B9) B¨9
  
7
6 8 7 6 8 7
68 X 6 6 6 6 5
7 5

0 0
the guitarist shadows the drummer’s 8 883 Swing8 7 6 78 X 5 8 6 88 67 7 669 6 9 6 58 5 8 7 8
87 7
76 6


FIGURE 6 7 8 6 7 6 6 6
 
 
0  
0 00 0
6
7 7 6
6 5
6 6
7 7 6 5 5 7 7 6 6 6
6 6
6 6
6 5
5
ting-ting-ting-ting-ta-ting cymbal pat- Fig. 3B¨6

FIGURE 83 Swing (E9) 7
6 6
5
E¨9 7
7 (A6) 8
B¨6 B¨6 7 6B¨96
8 (B9) 7 6
6 E¨9
(E9) 5 6
5 8
E¨7 7
(B9) 6
B¨9
  
7 7 7 6 6 7 7 6 5 5 7 7 6 6 6 6 5

00 00
tern, reinforced by the bassist’s quar- FIGUREB¨683 Swing 6
(E9) 5
E¨9 7 (A6) 8
B¨6 B¨6 7 6B¨96
8 (B9) 6 5 5 8 7 6
7 (E9) E¨9 E¨7 (B9) B¨9
 
00 
00 00 00 00
6 5 6
  
7 6 6 6 6 6 5


ter-note walking line. Emulate this pat- 8 7 6 7 8 8 7 6 6 7 6 6 8 7 6
  
B¨6
7 (G¨9) (E9) 7 F9E¨9 (A6) B¨6 B¨6
7 (B9)
6 5B¨95 (E9)
7 E¨9 E¨7
6 (B9)(B9) B¨9

6 6 7 6 (G¨9)F9
6 6 5


6 5 6


B¨6 (G¨9) F9 B¨6
8 7 E¨9 B¨6 B¨9

000 00 00 00
tern by brushing the pick lightly across


8 6
7 5
6 7 7 8 6 6 6 6
7 5 5
6 8 7 6
  
000    
00 0 0 0 000
7 7 7 7 6


7
6 6 6
5 7
6 7 6 5 5 6 6 6 5
muted strings and then apply the same B¨6
6 8 (G¨9)9 6 F98 6 (G¨9)
79 7 F9
88 B¨6
86 7 E¨966 6 B¨6
665 (G¨9)F9
59 8 8 8 (B9) B¨9


5 6


7 7 6 7 6

 
8 7 9 7 7 8 6 9 6 87 78 6 56 5 7 78 6 69 8 8 6 7 66 6 5

 
feel to the minimal shell voicing rhythm B¨6 (G¨9) F9 (G¨9) F9 B¨6
6 7 E¨9 B¨6 (G¨9)F9 (B9) B¨9

7
6 8 9
9 8
6 8 5 9
79 8
88 87 66
6 6 7
66 5 59
9 88 8 8 8 6 75 5 6

00 0 00 0
8 8 7 8 7 8 5 8 8 69 78 7 6 7 66
7 6
 
8 9 7 8 6 9 8 8 6 7 86 8 6 6 5

 
0
in FIGURE 2. Fret each note with a sepa-

6
7 9 8 9 8 6
7 6 6
7 9 8 8 6 6 5 5 5
5

 
rate finger, mute the unused strings, and 8
B¨6 9
8
(G¨9) 8
7
F9 9
8
(G¨9) 8
7
F9 8
B¨6 6
5
E¨9 8 8 (G¨9)F9
B¨6 9 87 8 7 7 B¨9
(B9) 6 6


7 9 8 9 8 7 6 7 9 8 8 6 6 5 5

00 00 
00 00 00 
00
8 8 7 8 7 8 5 8 8 (G¨9)F9 7 7 7 6 6

00
release fret-hand pressure immediately B¨6 (G¨9) F9 (G¨9) F9 B¨6 E¨9 B¨6 6 (B9) B¨9

6 9 8 9 8 6 6 6 9 8 8 5 5
8 9 8 9 8 8 6 8 9 8 8 7 6 6

 
after each pick stroke (for more on this

B¨6
7
6 (G¨9)
9 F9
8 (G¨9)
9 F9
8 B¨6
7
6 E¨9
6 B¨6
7
6 (G¨9)F9
9 8 8 (B9)
6 B¨95 5


00 0 00 0
8 8
9 7
8 8
9 7
8 8 5
6 8 8 9 8 7 8 7 7 6 6

 
approach, including a 12-bar shell voicing

0
7
6 9 8 9 8 7
6 6 7
6 9 8 8 6 6 5 5


arrangement, see the November, 2009, 8 8
9 7
8 8
9 7
8 8 5
6 8 8 9 8 7 8 7 7 6 6
7 9 8 9 8 7 6 7 9 8 8 6 6 5 5
Talkin’ Blues column). This “felt more 8 8 7 8 7 8 5 8 8 7 7 7 6 6
6 5 5
than heard” swing guitar accompaniment
style was epitomized by guitarist Freddie
Green’s metronomic role in Count Basie’s
rhythm section. (For an updated take, also playing the repeating patterns typical of blues. As using your fingers to pluck the chords) are enough
check out Jimi Hendrix’s playing on “Up such, every example of comping is somewhat dif- to establish a jazz vibe, and just a few eighth-note
from the Skies.”) ferent, but FIGURE 3 shows a highly adaptable sample. kicks amongst the whole and half notes will inject
In a small band, the guitar can also Even while sticking to I-IV-V harmony and standard the swing.
improvise the accompaniment (i.e. comp) sixth and ninth chords, employing half-step antic- Next time, we’ll take a more detailed look at how to
around the singer or soloist rather than ipations (in parentheses) and a “cool” attack (i.e. form and use “uptown” chords.
 TAKING IT UPTOWN
Jazz-blues, part 2: extensions and alterations
A TRADEMARK OF THE BLUES STYLE IS THE Fig. 1a 1a1a
FIGURE
FIGURE 1a ninth
ninth chords
chords Fig. 1b1b1b
FIGURE
FIGURE 1b 13th
13thchords
chords

     
   
FIGURE ninth chords FIGURE 13th chords
use of dominant-quality chords in place C9C9
C9
       C13C13
C13
       
of diatonic major or minor chords. Dom-
                       
inant sevenths make up almost the entire
harmonic vocabulary of down-home blues,
 
           
or blues that’s close to its rural origins.
Jazz, however, was born in the crowded 3 33 8 88 8 88 10 10 10
10 10 10 5 55 88
8 10

 
3 33 8 88 5 55 8 88 8 88 11
11 33 10 10
10 10 10 13
13
streets of New Orleans and has remained 3 33 7 77 7 77 7 77 9 9 9 11 99
9 10
3
3 33 9 9 9 9 99 1314 14
14
urban music ever since—in other words, 2 22 8 88 8 88 8 88 8 88 10 10 2 22 8 88 8 88 14 1414
3 33 7 77 3 33 14 14
14
uptown. One means of expressing this 8 88
sophistication is through the use of more
complex chord structures. Fig. 2 2 altered
FIGURE
FIGURE
FIGURE 22 altered
alteredchords
chords
chords

    
     
The first step in taking a chord uptown
    
C7C7
C7C7#5
C7#5
C7#5F7 F7
F7 C7C7
C7C7¨5
C7¨5
C7¨5F7 F7
F7 F7 F7
F7 F7¨9/F#º7
F7¨9/F#º7
C9C9
C9 G7#9
G7#9 G7¨5
G7¨5C9C9
C9
        
F7¨9/F#º7 G7#9 G7¨5

    

is to extend it, or add notes beyond the
basic seventh-chord structure (1 3 5 f7).
           
The two standard extensions are the ninth    
(an octave above the second) and the 13th
(an octave above the sixth). FIGURES 1a and 8 88 8 88 8 88


8 88 9 99 10 10
10 8 88 7 77 6 66 6 66 7 77 8 88 11 11
11 9 9 9 8 88
1b show a few voicings for each of these 9 99 9 99 8 88 9 99 9 99 8 88 8 88 8 88 7 77 10 10
10 10 10
10 7 77
8 88 8 88 10 10
10 8 88 8 88 7 77 7 77 7 77 8 88 99
9 10 9 9 9 8 88
two chord types, arranged by top (mel- 8 88 8 88 10 10 10
10 10 7 77
8 88 8 88 8 88 8 88
ody) notes. Extensions are common in
both blues and jazz. Blues artists employ
them to add uptown flavor to the I-IV-V Fig. 3 3 “uptown”
FIGURE
FIGURE
FIGURE 33 “uptown”
“uptown” blues
blues
blues comp
comp
comp

                     
                        
progression, and jazz artists use them as a C6C6
C6 F9 F9
F9 D¨9D¨9
D¨9
C9C9
C9 C9C9
C9 G¨9G¨9 G¨9 F9 F9 F9 D9D9D9 D¨9D¨9D¨9
starting point for more complex harmonic
excursions.
                          
Even further “uptown” in terms of feel
are altered dominant chords, in which the
   
fifth and/or the ninth are raised or low- 8 8 8 8 88 8 88 8 88 9 99 8 88 8 88 8 88 8 88


ered a half step, adding dissonance that 10 10
1010 10
10 8 88 8 88 9 99 8 88 8 888 88 8 888 88 9 99 8 88 8 88 8 88 8 88 10 10
10 10 10
10 9 99
9 9 9 9 99
1010 10 8 88 8 88 8 88 7 77 7 777 77 7 777 77 9 99 8 88 8 88 8 88 8 88 9 99 9 9 9 8 88
10 10 10 7 77 7 77 9 99 8 88 8 888 88 8 888 88 8 88 7 77 7 77 7 77 7 77 10 10
10 10
10 10 9 99
telegraphs a chord change. Musically, the 8 88 7 77 7 777 77 7 777 77 9 99 9 99 8 88
most effective way to absorb these chords

G9 
  
is to take one sequence at a time—FIGURE 2
   A¨9 
A¨9
A¨9      A¨9    
                     
C9C9
C9 C6
C6 A¨9
A¨9 G9
G9 A¨9
A¨9 G9
G9 C6
C6 F9
F9 C6C6
C6 A¨9A¨9
A¨9 G9
G9
           
C6C6 C6 G9 A¨9
A¨9G9G9 G9 C6C6 C6 F9 F9 F9
    
G9 G9
shows a few typical examples—and study
               
how the alterations link the notes of one
                
chord to the next (note that the dimin-
       
ished seventh chord, while technically
a unique chord quality, often functions
 
as an altered dominant [7f9] chord; both 8 8 8 8 88 11 11
11
10 10
10 10 10
10 10 10
10 11 11
11 10 10
10 8 8 8 8 88 8 8 8 11 11
11
10 10
10

 
8 88 8 88 10 10
10 10 10
10 11 11
11
10 10
10 10 10
10 10 10
10 11 11
11 10 10
10 10 10
10 8 88 10 10
10 11 11
11
10 10
10
names are shown). 7 77 7 77 9 9 9 9 99 11
11 1110 10
10 10 10 10
10 10 10 11 10 10
11 11 10 9 9 9 8 88 9 9 9 11
11 1110 10
10
8 88 8 88 10 10
10 10 10
10 10 10
109 99 9 99 9 99 10 10
10 9 99 10
10 10 7 77 10
10 10 10 10
109 99
In blues, a similar effect is created by 7 77 7 77 11 11
11 10 10
10

simply preceding the change with the

chord a half step away, a trademark of FIGURE
FIGURE 44 jazz-blues
jazz-bluescomp
comp
Fig.
FIGURE4 4 jazz-blues comp
electric blues pioneer T-Bone Walker.

   
   
C13C13
C13 F7 F7
F7 F7¨9/F#º7
F7¨9/F#º7C9C9
C9 C7#5(#9)
C7#5(#9)C7#5(¨9)
C7#5(¨9) F9 F9
F9 F7¨9/F#º7
F7¨9/F#º7 C#9
C#9 C9C9
C9
     
F7¨9/F#º7 C7#5(#9) C7#5(¨9) F7¨9/F#º7 C#9

       
    

FIGURE 3 shows a 12-bar uptown blues

    

            
         
 

comp (improvised accompaniment) using
just sixth and ninth chords with half-
step approaches. FIGURE 4 is a jazzier ver-
    
sion, built around the same basic I-IV-V 88 88 88 88
8 8 8 8 11 11
11 9 99 8 88


changes and including various extensions 5 55 6 66 7 77 8 88 9 9 9 9 99 8 88 10 10
10 9 99 8 88
7 77 8 88 8 88 7 77 9 99 9 99 8 88 8 8 8 8 88 7 77
and alterations. 8 88 7 77 7 77 8 88 8 88 8 88 7 77 10
10 10 9 99 8 88
9 99 8 88 7 77
Next month, we’ll take it even further
uptown with a look at chord substitution.

               

     
See you then.
  
C13C13
C13 C13
C13 C7#5(#9)
C7#5(#9)
C7#5(#9)
C7#5(#9) G9G9
C7#5(#9) G9 G9
G9 G7#5(#9)
G7#5(#9)
G7#5(#9) B13B13
B13 C13C13
C13 F9 F9
F9 C13C13
C13 G7#9 G7#9
G7#9G7¨9 G7¨9
G7¨9 C9C9 C9
 

                   
     
8 8 8 11 11
11 10 10
10 11 11
11 7 77 8 8 8 8 88 8 8 8

 
10 10
10 9 9 9 10 10
10 11 11
11 9 99 10 10
10 8 88 10 10
10 11 11
11 9 9 9 8 88
9 99 9 9 9 10 10
10 10 10
10 8 88 9 99 8 88 9 99 10 10
10 10 10
10 7 77
8 88 8 88 9 99 9 99 7 77 8 88 7 77 8 88 99
9 10 9 9 9 8 88
10 10 10
10 10 7 77
 SUBSTITUTE TEACHER
Jazz blues, part 3: Adding passing chords and
substitutions to the 12-bar progression
FIGURE 1 basic 12-bar blues progression
IN THE LAST TWO LESSONS, WE COMPARED FIGURE
FIGURE
Fig. 1 1basic
FIGURE
bar: 1 1
1basic
basic
12-bar
12-bar
12-bar
blues
blues
blues
progression
progression
progression
 
2 3 4 5 6 7 8 9 10 11 12

   C7C7IVF7 F7F7F7 C7   
standard blues rhythm patterns and bar:
bar:
bar:
bar:111 222 3 3 3 C7 4 4 4 F7 5 5 5 F7 6 6 6 C7 7 7 7 C7 8 8 8 G79 9 9 F7101010 C7111111 G7121212
function: I C7
C7
chord structures with those of jazz blues. I C7C7C7 I C7C7C7IV F7F7F7 IV F7F7F7 I C7C7C7 I C7C7C7 V G7
G7G7 IVF7F7F7 I C7C7C7 VG7 G7
G7
But the comparisons don’t stop there. function:
function: III
function:
function: IVIVIV III III IVIVIV IVIVIV III III VVV IVIVIV III VVV
Where traditional blues harmony is Fig. 2a2a sharp-four diminished
FIGURE Fig. 2b2b four minor
FIGURE FIGURE 3 two-five of four
relatively static, jazz-blues progressions FIGURE
bar:FIGURE
FIGURE
2a
2,2a sharp-four
62asharp-four
sharp-four
3,diminished
7diminished
diminished FIGURE
FIGURE
FIGURE2b2b
2, four
6 2bfour
four
minor
minor
minor
3, 7 Fig. 3 3 34two-five
FIGURE
FIGURE
FIGURE 3two-five
two-fiveofoffour
of
5four
four

   F7F7F7F#dim7  F7F7F7 Fm7     

routinely feature chord substitutions de- bar:
bar:
bar:
bar: 2,2,
2,
62,66 6 2,
F7 F#dim7 C7 3,3,
3,
73,77 7 F7 2,Fm7
2,
62,66 6 C93,3,
3,
73,77 7 Gm7 4C13
44 4 F95 55 5
F#dim7C7C7C7 Fm7 C9C9C9

                  
signed to create constant harmonic mo- F#dim7
  Fm7

Gm7
Gm7
Gm7 C13 C13 F9F9F9
C13


  
  




         
tion within the 12-bar framework. While
    



the theory behind this can be daunting,
the results sound quite natural in an “up-
function: IV #ivdim I IV iv I
town” sort of way. Let’s look at a few of function: IVIVIV#ivdim
function:
function:
function: #ivdim
#ivdim III IVIVIV iviviv III ii/IV V/IV IV
ii/IV
ii/IV V/IV IVIVIV
ii/IVV/IV
V/IV
the most common subs.

  
10 10 8 10 9 8 11 10 8


8 1010108 101010 9 8 8 8 8 101010 8 9 9 9 7 888 10111111 9101010 8888

 
For reference, FIGURE 1 illustrates a basic 10 8 8 810 8 8 8 8 9 9 9 10 8 8 8 10 8 8 8 8 777 12101010 8 999 7888
12-bar blues progression in the key of C. 8 1010109 101010 10 8 8 8 8 101010 8 101010 7 888 10121212 888 8777
888 999 101010 888 888 777 101010 8 888
The first substitution in the progression 888
typically appears in bars 2 and 6, right af- Fig. 4 4 one-six-two-five-one
FIGURE
FIGURE
FIGURE
FIGURE 4one-six-two-five-one
4 4one-six-two-five-one
one-six-two-five-one
ter the IV (“four”) chord and before it re- bar: 7 8 9 10 11 12 1

 
bar:
bar:
bar:
bar: 7 77 7 8 88 8 9 99 9 1010
1010 1111
1111 1212
1212 1 11 1
turns to the I (“one”) (key of C: F7 to C7). C7 A7 D9 G13 C7 A7#5 D9 G7#5 C9
        
C7C7C7 A7A7A7 D9
D9 D9 G13
G13G13 C7C7C7 A7#5
A7#5
A7#5 D9D9 G7#5
D9 G7#5
G7#5 C9C9C9
     

  
(Note: In the language of blues harmony,
 



 
 
 
         


    

it is understood that both these chords

  

    I  
are dominant sevenths, their full names,
I7 and IV7, typically being shortened to function: I VI II V I VI II V
simply I and IV. The same holds true for function: III
function:
function:
function: VIVIVI IIIIII VVV III VIVIVI IIIIII VVV III


other chords, such as the V, short for V7.) 5 5 5 5 5 6 5 4 3
3 555 6 555 5 555 4 555 3 555 6 666 5 555 4 444 3333
Here, the IV chord is swapped out for a 5 333 5 666 4 555 3 444 5 333 5 666 4 555 3 444 2333
3 555 555 5 44 4 333 3 55 5 555 5 44 4 333 322 2
passing chord: either sivdim7 (“sharp 333 5 555 3 333 5 555 3 333
555 333 555 333
four diminished seven”) or iv7 (“four mi-
nor seven;” note that lowercase Roman FIGURE
Fig. 55 “kitchen
FIGURE
FIGURE
FIGURE sink”
5 5“kitchen
5“kitchen
“kitchen comp
sink”
sink”
sink”
comp
comp
comp
numerals denote minor and diminished

 
C13C13
F9 F9F9
F#dim7
F#dim7C9 C9C9C9 Gm7
  C13
C13 C7¨13

F9 Fm7 Fm9 C7

 
              
chords), as shown in FIGURES 2a and 2b. C13
C13 F9F#dim7
F#dim7 Gm7
Gm7
Gm7 C13C13C7¨13
C7¨13
C7¨13F9F9F9 Fm7
Fm7Fm7 Fm9
Fm9
Fm9 C7C7C7
      
  

     
        
  

  


 

 

Each of these passing chords alters the
      
       
  

chord structure by a half step to smooth
the return to the I chord. This provides 
what is known as chromatic voice leading.
In jazz harmony, dominant-seven chords 8 888 8 8 8 8 10


8 888 8 888 8 101010 8 888 11 111111 10101010 8 888 9 999 8 888
are often paired with minor-seven chords to 9 999 8 8 8 8 10 888 9 999 10 101010 9 999 8 888 8 888 8 8 810
8101010 9 99
8 888 7 777 9 101010 8 888 12 121212 8 888 7 777 1010
10 1010
10 89888
form ii-V (“two-five”) progressions (ii7-V7; 999 7 777 10 101010 8 888 8 8 810
8 8 8 810
8
8 888 8888
key of C: Dm7 to G7), a chord combination
that increases the sense of anticipation for

    
A7#5
A7#5
A7#5
A7#5 D9 D9
D9D9 G13
G13G7#5
G13
G13 G13#5¨9
G7#5
G7#5
G7#5
G13#5¨9
G13#5¨9C9C9C9C9
G13#5¨9 A7#5 A7#5 D9D9
A7#5
A7#5 D9 G13#5¨9
D9 G13#5¨9
G13#5¨9
G13#5¨9 C9C9C9C9
    
an upcoming chord change. In blues, the I7
      
   

     
    


chord (for example, C7) functions as the V
(“five”) of the IV chord (F7), and pairing it    
 
 


   




with that chord’s ii7 chord (Gm7) sets up
the change from I in bar 4 to IV in bar 5, as
     
demonstrated in FIGURE 3. 4 444 3 333 5 555 5 555 4 4 4 46 6 6 6 3333

5
Extending the ii-V idea, ragtime, a 6 666 5 555 5 5 5 54 444 3 333 6 666 5 555 4 444 3333
6 666 6 666 5 555 4 4 4 44 444 3 333 6 666 5 555 4 444 3333
popular turn-of-the-century style that in- 5 555 4 444 3 3 3 33 333 2 222 5 555 3 333 3 333 2222
5 555
fluenced both blues and jazz, popularized 555 3 3 3 33 333
the I-VI-II-V (“one-six-two-five,” all dom-
inant sevenths) chord cycle (key of C: C7- dominant-seventh chord cycle has a natural forward Still more variations in jazz-blues harmony are possi-
A7-D7-G7). In a 12-bar jazz-blues progres- energy, like a ball rolling downhill. ble—bebop blues, for example, is chock-full of chang-
sion, this usually appears first in bars 7–10 FIGURE 5 compiles all these substitutions, along es—but those covered here provide a solid introduc-
and repeats, in a compressed timeframe, with typical extensions and alterations, into a single tion. Next time we’ll turn to the inevitable question:
in bars 11 and 12 (see FIGURE 4). This bluesy “kitchen-sink” chorus of jazz-blues accompaniment. “How the #&!! do you play blues over this stuff?”