We're talking about the blues matrix here,
which means that we're talking about a 12
A 12 bar blues form, and fitting in more
more harmonic motion, chords, and, and
things like that.
And just levels of that.
So I want you to go back and review the
blues form, which we talked about that.
Blues has three sections, three four-bar
First part of the blues is a lot like the
second part of the blues.
Second part very much like the first part.
Third part of the blues, a lot like the
third part of the blues.
The first part of the blues, those four,
first four bars, being about the one.
You know, it's just, you know, orbiting
around the one.
Moving a little bit, like staying with the
Second part of the blues, being, a
repetition to some extent, of those first
four bars but, about the four chord, four
chord, I'm sorry, on your side.
Four chord moving back to the one
returning back to the one.
And then the the third part of the blues
being about that five cord, coming back to
And then maybe a little bit of a five at
the end to kick you back
through this pattern.
And you'll see, you should be seeing a you
know, a chart here of the blues matrix.
Up, you know, on the screen presented in
an incredibly artful and
brilliant technological way by the amazing
geniuses here at Artist Works.
So we're looking at the top 12 bars of the
blues matrix and
that's at the Primal Blues, right?
We've been through this to some extent in
that other lesson, where we,
it's about the one, right?
So it could be any key, and we've got some
numbers up there, right?
We got Roman numerals one.
So let's start with G, G's good, G's a
good good start.
So, the first, that first four bars,
we're gonna be playing something in the
orbit of G.
So if we go one, two, three, four.
One, two, three, four, one, two, three
here's the second part of the blues,
Back to the one.
And then the five back to the one.
And maybe add a little bit of a five.
It's not in the chart, but sometimes you
can do that.
So, always 12 bars, always those, those
four bar groups that are organized.
And, so and, and, always that feeling of
the one, four to the one, five to the one.
Now, no matter, and we're gonna add, start
adding chords into this mix.
Same number of bars, but
we're just gonna start adding some
harmonic bass line motion into this.
So we get it a little bit more
So, the next one would be like a rock and
roll type blues.
We're gonna just so
you can see that in that first line we got
a little bit more movement.
You know, just a little bit more
We're gonna go to the four quickly, it's
sort of like a gospel thing.
So we have one bar one.
And then the seventh.
Back to the one and then the seventh,
We've got that seven chord, and that's
Also associated with the mixoline.
Is one of those, those,
and probably one of the most, probably the
most important chord in jazz and
it's the most one of the most important
chords in western music and
harmonic motion in general, because the
seventh is the dominant, right?
The dominant meaning dominating.
It's, you know, I grab you by the back of
the neck and
put you in the direction of a chord that
is a fourth up or a fifth down.
We usually talk about the circle of
fourths, meaning we're going up.
But it's that much distance away.
So if we go one, two, three, four, right?
So if we're in G, we're gonna go to C.
So if we had played G seventh.
And with that, that unmistakable sound of
Part of that circle.
That ever rotating circle for us G goes to
C goes to F.
F goes to B flat.
And so forth around the cycle.
So there is gonna be a PDF of, of, of that
cycle of force, which you should memorize.
Don't depend on a sheet of paper for this.
It's not that difficult especially with
You can count things on your instrument.
G to C.
Right, to B-flat.
Start with E-flat.
Okay, that's a whole other subject.
I believe we have stuff on that already.
But it is one of those central principles
of Western music.
In force in its dominant motion.
It's it's the whole thing.
It's, it's one of the things that's really
made JS possible, actually.
So what do we got?
We got the seventh.
All that, just to get to the second part
of the blues in rock and roll.
So we're going to the C7, right?
We're gonna play a seventh in there.
I'm gonna use my fifth string on this
instrument, to give us the C-string.
You, you probably don't have a C-string,
but you have that, that fourth, you go and
can play it like that, bar it straight
across, you get that.
A lot of different ways to play C7.
And then back to the one.
Two bars of that.
Two bars and then back to the one.
Now here's an interesting one.
What is that?
It's a Roman numeral, right?
It's got a five.
It's got a.
It's got a V and an I.
So that means it's a six, right?
So we got a six.
One, two, three, four, five, six.
So it's some kind of E chord, right?
G, A, B, C, D, E, six is E.
So okay, and it's got a seventh, so it's
got an E seventh,
some kinda seventh chord, so.
It's that sound.
That kinda sound.
So, wow, what, what is going on?
[SOUND] [SOUND] four, back to the top of
the second line.
[SOUND] Four chords, C, back to the one.
You get that kind of
I think you've heard that before.
And then, and that because it's a seventh
chord it means it probably gonna be
waiting to a chord that's a fourth away.
So what's a fourth away from E?
A of course.
So and then look at this.
Okay, so well two seven.
The two of G happens to be an A so that
all works out.
And low and behold that's a great sound.
So we go back to the one and the six.
E to A.
To the five, which happens to be D.
Do you see a pattern?
Yes, we see a pattern.
We see E.
[SOUND] run circle forest to a [SOUND] to
So we see.
Back to G.
A big slice of the circle fourth pie.
You can see the, the pie.
So what we've done, is we've done,
we've done something called a one six two
five, also known as a turnaround,
also known as the classic running in place
It's you hear this all over the place.
You probably played Heart And Soul on the
piano, and that's a classic one, six,
All kinds of ways to spell that, on the
fiddle and on every other instrument.
All kinds of ways to spell that on
the fiddle and on every other instrument.
So we're using that in the blues to get us
over to the five, again.
We have a, a, a two there, but
the two is just presenting us to the five,
which is the important chord there.
In the last part of the Blues, it's always
about the five back to the one, and then
five to the one, [SOUND] and then we gotta
a little five [SOUND] kicking us back.
So that rock and roll blues sounds like
this, we'll just play through it here.
One, two, three, and-
On three [INAUDIBLE] seven.
Here comes the four.
Two bars, back to the one.
There's E, and then.
And then back to the top, and then it
cycles, cycles, cycles, cycles, cycles.
So that's a little bit more complicated
version of the blues.
Okay, we move down to a fairly standard
And we're just building on this.
We're, adding, adding chords.
Now here I'm doing actual chord names,
because we're into jazz now, an, and we're
it's kind of interesting, jazz, like any
other sound music has its favorite keys,
you know, because we have a lot of horn
players in jazz.
Horn players like to play in funny keys
like F, B Flat and E Flat.
So we have to somewhat adjust to that
because of so many standards and
things like that, and, and jazz tunes are
written in those keys.
So if somebody, you know, if, I mean, if
you were in a rock and roll band,
or at a rock and roll jam, you might do
the blues in G.
You might do the blues in E, very common,
also in A.
But if you were in a jazz jam you would be
doing the blues almost,
exclusively in F and maybe in D-flat, but
F is the standard key, so,
it's always good to learn all this stuff
in every key, especially in jazz because
you're moving keys around so much, but
might as well start with the most common.
So we are starting with F, which is gonna
be your most common blues key.
We're looking at, again, looking at that
one chord, start with the one chord.
It's a little bit like the rock and roll.
We're going to the four chord second, so
start with F.
And then we go to the four.
Back to the F.
Okay, now we're where we, before on the
previous one did the F7,
we're like dividing that up into two
chords but its still equals an F7.
So, it's C-minor-
Which is almost like the same exact scale,
in fact it is kind of the same scale, just
one tiny difference.
In the C seventh minor you have this, the
sound is like
a B flat right and the minor is C, the
minor C is A flat.
When we go to the seventh, we have a
We the the minor third in the C becomes
the seventh of the, of the F.
So we just don't change that at all, we
just hang out on E flat [SOUND].
But, we change one note.
We change, the 7th of the C-minor to the
3rd of the F.
And so it sounds like this.
The 7th changing to the 3rd right.
That's a good way to spell it.
And, of course, with, we're going to have
a separate little thing on this,
on this lesson on.
On this it's just making the changes just
with two notes, you know, the two note
cord thing with violin which is great
because we don't have to worry about all
those extra notes that the guitar players
and the piano players have to worry about.
All right, you can make these changes with
just two notes.
So that is our sound.
And you notice that if we look at that C
That's a little slice of the circle of
Again, we have that dominant motion, and
if we look one measure further,
to the second part of the blues, we see C
to F to B-flat.
Again, three, three chords in that cycle
You know, some kind of, yeah, some kind
of, dominant motion there.
So we got
C minor to F.
To B flat.
Let's do that again.
C minor, F, B flat.
So the, we just, you know, it,
we're basically giving the bass player
something a little bit more to do here.
We just, he's, you know.
So, you just got a little bit more stuff
So, you know, just more stuff to do, but
it's still that same basic motion in the
So, we've got first line of the blues, to
back to one, and here's the seventh.
To the four.
Oh, now what's this?
B flat to B, diminished.
the diminished as we know it is sort of
an all purpose dominant type chord that
can get us where ever we wanna go.
It's, it's kinda this, it's sort of this
cross roads that we get like five or six
different roads going in this crossroads
and you can go anywhere from that.
So, so we've got this nice
Now, we might go to the one, but what is,
remember our one chord is an F.
So what can we, this, this, we got A
minor, instead of the F,
what's going there?
Okay, [SOUND] well the A minor-
Is very closely related to the F, right?
It's on, almost all the same note.
If we take the F-major 7.
And play it against the A-minor.
If we take the A natural minor,.
they're very close.
And so, it's like kind of a substitution
also it gives it a little more color for
that one feeling.
And then what happens there, we go from
the A minor seven,
again, a dominant motion, a fourth away to
which is of course F6, and we played the 6
in the other one.
So we're taking the A minor, we're
substituting that A minor in there as
part of the continuing cycle of fourths.
And then again, more cycle fourths.
To another, to the C so you got a big
slice of A to D to G to C.
Going in to this, so
to the F,
landing on the F in the second bar of the
So we're just adding the cycle and, and
so, we're making the blues that,
more interesting by substituting these
it's all part of this very logical cycle
of fourths which is just, decorating that.
So we still have, you know, underlying,
the, all these fancy chords in here,
we're still have that same one, you know,
the first line is about the one.
Seventh to the four.
This is sort of like the one.
And then to the sixth, leading us into
There's our five, that about the five.
Look at this.
Okay, we've got fast, four fast chords.
Lo and behold, it's that one, six, two,
which just happens to be a compressed
version of the previous, how many?
Three bars so,
Right, so, instead of just saying on the
for those last two bars,
we're just decorating the one-
by giving us a little bit more interest,
harmonic interest there.
And we're just in that, we're gonna do a
whole section on the one, six, two,
five, experience, which is basically kinda
like a treadmill.
So, there you go.
There's very standard blues progression
we're gonna look quickly at the Parker
Blues, which is,
Parker is named after, of course, the
great Charlie Parker.
Jazz saxophone genius who changed the
sound of jazz.
And helped invent bebop along with Dizzy
a bunch of other people who were also
So [COUGH] that is, so this is a great
the amazingness of the circle of force
which you just keep.
Going through the cycle and low and
Look at this that we got a
We, okay we're gonna start with a one.
[LAUGH] Thank goodness, okay.
Blues an F, all right.
So, we start with our one, and then we
quickly go to the four.
And then we
We just jump over.
Then we start our cycle.
And we've, so we've, we've kind of jump
into a rolling cycle of four's.
That is gonna land us at the four chord,
at the beginning of the second part of the
This is just a beautiful thing.
So we start with a F.
A quick four and then move in a, kind of a
Not a fourth away, but a an augmented
fourth away or flat five away.
And then we're, we're there.
We're like on this little roller coaster.
It's a cycle for us.
E to A to D to G, A, C to F.
We landed on the four chord.
Still, you know, nailing those important.
Harmonic things and blues and that.
And then going on again.
Here we go.
And another little cycle for us.
So B-flat minor to E-flat.
Again, cycle fourths.
And then a little jog two two quarters
that are, you know, in cycle fourth.
[LAUGH] Very nice.
So it's like we, when we combine the minor
of the seventh,
it's kind of like the same chord.
And we'll get to that later too, but we
That's the sound, right?
So it's just a little chromatic.
>> That's that kind of sound, and then, of
course, more cycle forths.
And, then, we have a little bit of a 165.
So, that's just a beautiful further
generation just jamming that cycle for us.
Into the blues form, making it all work in
just a very artistic, lovely way.
So that's our blues matrix.
A bunch of different ways that you can
decorate, you know, that 12 bar form.
Still keeping the three to the one, four
to the one,
five to the one, with a lot of extra.
And you can see how, how, you know, just
adding these chords makes a lovely,
you know, that you can see the lines start
to move and the bass line start to move.
So when you're playing through this, I
would start with the bass line.
Whatever key you want to do it in.
You know just, and then.
Just make sure you got the bass line in
Then try an arpeggio.
So that was the rock and roll blues.
Do the same with the standard jew blues.