Advanced Blues Form Lesson

In the previous two videos, we have explored:

• What the blues is:
  • The basic form
  • The more advanced form
• Basic Form:
  • The three chords of the blues
• Advanced Elements:
  • Introduction of the 2 and the 5 at the end of the sequence

Today, we're going to delve into an even more advanced blues form.

Structure of the Blues Form

The regular form we've been playing is:

1. 1
2. 4
3. 1
4. 4# (sharp 4)
5. Diminished
6. 1
7. 6
8. 2
9. 5
10. 1
11. 6
12. 2
13. 5
14. 1

This form is similar, except we will be developing what are called two, five ones and turnarounds.

Understanding Turnarounds

At the end of the previous blues form, we have a turnaround, which consists of:

• 1
• 6
• 2
• 5

We will incorporate this kind of turnaround into earlier elements of the blues as well.

Practical Application

Let's start by progressing through the following sequence:

• Start on the 1
• Move to the 4
• Back to the 1
• Then do a 2, 5, 1 to the Bb

So, in summary, that's:

• Start: 1 → 4 → 1
• Transition: 2 → 5 → 1 to the Bb
• Continue with: Diminished → 1
• Now we do a 3, 6, which is the same as a 2, 5, but transitioning to the minor second.

Moving to Minor Chords

In this case, the second of F is G. We will use the II-V pattern to get there:

• When using the major 2, 5, 1 (going to a major chord), the progression is:

  • Minor → Dominant → 1

• For a minor chord, we use a half-diminished chord. Thus, the 2, 5, 1 to G is:

• D (half-diminished) → G

• A (half-diminished) → D7 → G

This is instead of where the five would be in the last four bars of the blues.

Adding Passing Chords

From bar five of the blues section, we can do a turnaround again.

There's one more thing we can add to this section that makes it slightly more interesting: passing chords.

• Instead of simply moving from 5 to G minor in the final four bars of the blues form, we can use passing chords:
  • Move from A to D, then to Ab and Db in between.

This pattern would look like this:

• A → G → D

By descending while using the same pattern of minor 7 and then dominant 7, it adds extra harmonic interest.

Conclusion

In a blues band context, you're much more likely to play something straightforward, but in a jazz context, these extra changes and harmonies will make the music sound much more interesting.

This lesson is about:

• The same form
• The blues scale
• Chord tones, which you will have learned before

As we increase the complexity, we also enhance the interest. By now, you'll be developing your own voice as an improviser, feeling quite comfortable with typical forms like the blues and other standards.

Let's take it up a level! I will play an improvisation using chord tones, remember, these are just the root, third, fifth, and seventh on the blues form, while also integrating the extra forms we've discussed.