so here we are with some more blues.
And we're gonna have some blues tunes as
examples, that go with some of
those chord progressions that we just
talked about in the blues matrix section,
where we [INAUDIBLE] explained, how some
of these, how you can add chords into
a blues form, and make it more interesting
and more jazzy.
So for that first the primal blues,
we actually have some stuff that is in the
bluegrass fiddle section.
We have a tune called Blues on Gravel,
which is a great example of just kind of a
primal blues where we just have that
really simple one, four to one motion,
five to one motion.
So that's a great one for that.
So, but we're in the jazz section now, so
we're like, getting a little bit more
That rock and roll blues, that sort of
We have something called Blues in the
Garage, which is an original piece.
And that has sort of a riff quality,
where we like play the same thing.
When we say, when I say the word riff, I
mean a repeated figure.
You know, it's like.
Something like that,
which could be played completely over
you can have that whole thing where you
are just keeps repeating.
The Blues in the Garage has a repeating
riff that goes.
So, that goes again and again.
That happens twice,
then it goes to the four chord.
The only difference in the riff, is we.
it sounds like we're playing the same
riff, but in a minor key, right?
But that, of course that, that minor,
what sounds like a minor third, really
because we're going to the four chord,
it becomes the seventh note of, of, of C
So we're in G.
So, in G.
That note, that B note, is the third.
Of the G.
When we go to C.
That same note has to change to a B flat,
in order to become the seventh note of the
So, that's a very common thing with like
all blues riffs.
And any kinda blues playing, is that you
can, you can go to the four chord,
you can actually, if you're playing in a
major key, you're playing some kinda riff.
You can make it minor.
So, you have this,
what we call thematic unity.
We're playing the same thing, but in a
It fits perfectly over a four chord, okay.
So that's really simple.
Adding a little bit of.
And, and all the.
We're using that flat five,
to give us some bluesy quality there.
we're talking about that blues scale, and
the blues sound.
You can refer back to the blues scale,
where we talk about the third, the fifth,
and the seventh being manipulated.
They're all bent and
shaped to fit that bluesy quality, and
that of course happens,
in all kinds of American music, blues,
jazz, rock and roll, bluegrass.
All kinda country music, folk music in
general, gospel music,
it's all got that, that bluesy, American
So, we're just.
And then, for the end of that, it goes,
it changes, abruptly changes.
It's like, sort of like a.
That's a bluegrass thing.
It's also kind of a guitar thing, you
That Chuck Berry thing.
You hear that a lot.
Else, slide guitar.
So, you can refer, refer to the PDF to get
this exactly, and look at the performance
that I did of this blues.
But I'm just kind of explaining a little
bit about it, and
so you can go directly to Blues in the
Garage, and hear that.
You can slow that down, and see what's
going on with that.
It's a very good example of a.
That kind of you know, middle period,
jazzy rock and roll kind of Ray Charlesish
kind of riff blues.
Hard driving punchy, nice kinda not too
it's got it's subtleties, kinda blues.
So, for the Bebop Blues, I wrote a little
Bebop Blues which
goes over the standard jazz Blues changes
and this is.
Blues, yeah this is called the Bebop
Coincidence I think, so, maybe, yeah
probably a coincidence yeah but
again, it ha, it's got a lot of those
little, thirdsy arpeggios that you hear.
You know, horn players play.
With, with little triplets.
we're doing that thing where, we're going
from a major sound to a minor sound.
When we go to the four chord right because
we get the.
The b-flat is the four chord.
Again, that kind of rhyming bop a do ba de
boo, boop ba de de boo,
by by ba doop be de doop be do do you know
if you take away the.
Melodic content you still here sort of a,
kind of a phrasing, the phrases rhyme.
You get a nice, long phrase that goes from
the bottom of the range of the instrument
to, high in the range.
It's one of the great things about the
violin we have a big range.
Very Bluesy kind of sound and then to the
Right, so we've got some interesting
things through the sixth.
One of the nice things about the six we're
going up from, and
we're in F but we get to play an F-sharp.
And that minor seven.
To the C-seven
Because its a seventh chord.
We can use a lot of funny,
altered notes the seventh chord is a big
red flag going up well, it's a green flag.
It's a green flag that says go, play weird
On seventh chord and so we're putting in
some weird notes.
And then again
Where for our little tag, our little one,
five tag We're playing a very pretty
little seventhy kind of you know
riff that goes kind of like, falls across
the chord progression.
All right so that's the Bebop Blues.
And then for the [COUGH] Blues for Alice.
For the Blues for Alice, it's actually
it's a, it's a contrafact which is
a tune that is written on the same chords
as the Charlie Parker Blues,
called Blues For Alice in which he
invented that wonderful Parker Blues.
Chord progression that just keeps going
through the cycle for
You know, going through that, those
which we've already described and that is.
Again, you know, you're just kinda playing
So we're using a lot of sequences,
breaking up the sequences to play through,
and this is almost, it becomes almost like
a more classical sound on your.
That kind of thing.
Where you're just kind of iterating
through, you know,
this beautiful dropping thing is something
that, you know,
if Bach had been around, he probably would
have been writing jazz chord changes.
And just, you know, developing the most
beautiful melodies ever played you know
and, of course, if you look at Bach, he
sort of invented jazz chord changes.
He was certainly playing through the
circle of fourths.
If you look, if you analyze almost any of
Bach's pieces, you see, you find that
circle of fourths, going through dominant
motion, again, and again, and just, you
know, ring incredible changes and playing
very sophisticated chords through that.
And that's why, I think, any, you know,
almost all musicians nowadays
just revere Bach and study him jazz
Because he was really the guy that made
beautiful patterns and these beautiful
ways to play through downright motion and
So yeah so the,
the, Blues Formalise is like Blues for
following the great tradition of, making
tunes that are almost like the tunes that
somebody else wrote for somebody else.
Which were also from funny tunes that were
based on core productions of other tunes
it just goes on and on, folks I just
it just it's just gonna keep happening.
Forever, I think all right so okay so
that's our Blues.
Little explanation on the, these, these
three uh,Blues that we have.
Up for you for your listening and playing