Now we're going to
deal with the blues.
There's a nice play along
to learn a stylistic,
you know something that's
very indicative of
the style of a slower jazz,
It's called blues on the bottom.
There are several elements
that we have to deal with.
The first thing is when you
play a blues or standard tune,
in the tradition with a group,
with a piano trio or something like that,
it's customary to play in the two-beat
feel a lot of times for the melody, or
at least the first time
through the melody.
So, I'm going to play a two-beat line.
You have it written down on PDF and then,
I'll do that once and
I'll play the melody, I believe is twice.
I'll play the written part once and
then I'll play my own little two beat,
feel that you can learn.
Then you have a PDF of
the walking line and
as soon as the piano solo starts,
Now, I think for now,
we'll go up to the point where I
believe there is a bass solo in this.
And you'll just practice your walking
under the piano solo for now.
And then we'll stop and we'll talk
about what we need to learn next.
But right now, I really want you to focus
on the idea of you're going to learn how
to transition from the two beat
feel to the four-four feel.
And we're going to be using that
F seven and the B flat seven and
the A minor seven and the D seven,
the G minor seven and the C seven.
Those are going to be your basic chords,
that are in this blues.
And the progression will be F 7 for
a bar, B flat 7 for
a bar, F 7 for two bars, simple.
Then B flat 7 for two bars, and
then F 7 for one bar, and
then A minor 7 to D 7.
In one bar and the G minor 7 for one bar.
C 7 for one bar and then F, D 7,
G minor or G 7 to C 7 and were back again.
This is a standard kind of
blues progression, okay?
So here we go, were going to do 2 B and
the, you know,
this is written out for you.
2 B feel, then I'll do one
that's a little different and
you're going to have to learn that.
Then were going to walk,
there's a whole bunch of walking here.
Once you get to the end of the page,
I'll still be walking.
I'll create some more stuff.
And you're going to learn that.
And then we're going to stop
when it gets to the bass solo.
Now, I want you to run through that
a bunch of times, so you get comfortable.
Learn the written line first.
Learn it really well, the walking line.
Right over the top of each of those notes.
Like, say, the first two bars you have.
The first bar, you have an F and
a C and an E flat, and an F.
That's the first cell we learned.
Root, five, flat seven, octave.
One, five, flat seven, octave.
That's F, C, E flat, F of F seven.
It's a B flat, an F,
an A flat and a B flat.
Okay so that's root 5 flat 7 octave
same cell but in B flat, and
it sounds good to have those back to back.
I want you to look and
see how those things are connected with
some scale notes and some chord notes.
There's really not much in the way
of chromatic passing tones or
anything in there just
straight up solid walking.
That's, I want you to develop that,
and think about that.
I have to note that here,
in some of the chords, like, say, let's
talk about the chord progression again,
because there's a couple things in there.
There's an F seven in bar one,
there's a B-flat seven in bar two,
there's an F seven For
two bars after that in three and
four bar five is an B flat seven and
bar six is a B flat seven now there's
a F seven then kind of a you could
sometimes people go down in various ways.
I wrote the line to
accommodate both things.
You can hear John playing.
Sometimes there, at let's say bar 5, 6, 7,
sometimes there's an F seven and
then an E seven
in a descending fashion or
an F seven and a B flat seven.
And then the A seven to
the D seven in bar eight.
Then G minor in bar nine.
C seven, and then F and
D seven in one bar.
In bar 11, and
G minor to C seven in bar 12.
Okay, just so,
I want to make sure we clarify that.
You know we've been talking about
chords and we've been outlining
basic chord changes and
it's important that you understand
how these things move in the blues because
this is not just a one-four-five blues.
We have the minor chords, you know,
in the two-fives inserted.
We have the third chord in the key,
which is A minor, to D seven,
which is normally the D in F
major would be a minor chord,
but here in the blues,
it's always a seventh chord.
And then we have a two,
which is G minor, to the 5, the C seven,
to get back to F seven.
Again, these are handled in the theory.
We've talked about this.
But I just wanted to go over it,
just to make sure you understand that.