Foundational Blues
Here are a few examples of what we call “Foundational Blues”, that is, relatively basic blues forms that can serve as a ground work for other, more involved, variations of the blues.
On our page called “Getting Started” we asked the question “What is it about the blues that makes it so useful and adaptable?” We can begin to answer that question by looking at the relationship between the tonic and subdominant chords (C and F for example). Example 1 shows us the diatonic “sister chords” in the key of ‘C’. We talk about this idea more on our page called “Chord Identification” (Link).
The fourth degree of a major scale is unique because it tends to act like it’s own “Pitch Centre” (Link). So much so that some theorists believe it really doesn’t even belong in the scale (Link)! We can see in Example 1 that there are three groups of scale tones – the I group, the V group and the IV group. The blues is built around these three pitch centres. Example 2 shows us the structure of a basic 8 bar blues.
Let’s look and listen to an example of this 8 bar blues.
We call this kind of blues foundational because every jazz player should be able to play through these changes without hesitation. It’s also a great place to start improvising a little melody over the left hand.
Observations and Exercises
(1) Notice how there are two “destinations” – the C chord and the F chord. Notice how the G chord “needs” to go to the C chord.
(2) Notice how the 6th (a) of the C chord in bar 1 creates a little movement but does not create any tension needing resolution. On the other hand, in bar 2, the flat seven (Bb) of the C chord is used sparingly to announce a change is coming.
(3) Try playing along with Big Maceo. Experiment with different notes in the right hand. Decide what notes work and when they work. Make a list of “always works”, sometimes works” and “never works” notes.
Here is another set of 8 bar blues changes, this time with a Gospel feel. Try to identify the modified “Sister Chords”.
As for the 12 bar blues, Example 3 shows a very basic framework. One great way to hone your blues chops is by learning a few pieces by Thelonious Monk. We include three examples here, all in Bb, but there are others – ‘Misterioso’, ‘Straight No Chaser’ and ’Functional’ for instance.
