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Forme de blues avancée

6:23

Va plus loin avec le blues de 12 mesures, en ajoutant des mouvements ii-V-I et des turnarounds pour construire au piano une forme de blues plus avancée et teintée de jazz.

Extrait du coursRockschool Piano Grade 729 leçons (2h 46min)

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29 leçons (2h 46min) · 1 gratuites
    • 01. L'improvisation : le niveau supérieur

      1:33

    • 02. Forme de blues avancée

      Tu es ici

      6:23

    • 03. Démonstration de blues avancé

      2:29

    • 04. Techniques d'improvisation avancées

      8:08

Transcription de la leçon

Advanced Blues Form Lesson

Recap of Previous Lessons

In the previous two videos, we explored:

  • What the blues is:
    • Basic form: Three chords of the blues
    • Advanced form: Introducing more complex elements like the 2 and the 5 at the end of the sequence.

We also worked on developing:

  • Chord tones
  • The blues scale

Today's Objective

Today's lesson focuses on an even more advanced blues form.

Regular Blues Form

We've been playing the following form:

  • 1
  • 4
  • 1
  • 14 (sharp 4)
  • Diminished
  • 1
  • 6
  • 2
  • 5
  • 1
  • 6
  • 2
  • 5
  • 1

This advanced form will build on what we've learned, particularly in terms of two, five, ones, and turnarounds.

Turnarounds

At the end of the previous blues form, we encounter a turnaround:

  • 1
  • 6
  • 2
  • 5

We will incorporate these elements earlier in the blues progression as well.

New Progression Steps

  1. Start on the 1:
    Move to the 4, then back to the 1.

  2. Two-Five-One to B flat:

    • Start: 1, 4, 1
    • Transition: 2, 5, 1 to B flat.
  3. Continuing the Progression:

    • Diminished, then back to the 1.
    • Transition to a 3-6: This involves the same pattern as the 2-5 but goes to the minor second.

    In our case, the second of F is G. Use the II V pattern to reach there.

Using Major and Minor Chords

  • For Major chords:

    • Use minor followed by dominant, followed by 1.
  • For Minor chords:

    • Use a half-diminished chord.
    • For example, the 2-5-1 to G is:
      • A (half-diminished)
      • D7 (dominant)
      • G (major)

Final Four Bars

Now moving into the last four bars of the blues:

  • Instead of just going directly to the G minor, we can introduce passing chords.

Passing Chords

We'll use:

  • A to D
  • Then we can head to A flat and D flat in between.

So, rather than moving directly from A to G to D, we will descend using the same pattern of minor 7 and dominant 7. This variation adds interest to the progression.

Conclusion

Remember, playing in a blues context generally follows this pattern:

  • Blues Band: More straightforward.
  • Jazz Context: Incorporating extra changes and harmonies adds more complexity and richness.

Developing Your Own Voice

As you continue this practice, keep in mind:

  • The same form and the blues scale you've learned will still apply.
  • Adding complexity enhances interest.

Let's elevate your skills! I will now play an improvisation, focusing on chord tones (root, third, fifth, and seventh of the blues form) while incorporating these additional elements.

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