Bb Blues Chorus
The lick for May covered the first
two bars of a 12-bar blues and is shown here in measures 1 and
2. (Especially notice the chromaticism at the beginning of measure
1 and how Edim7 is outlined in bar 2. Once you get it under your
fingers, transpose it to the keys of G, Ab, and C. And if your
guitar has a cutaway, you can even try it in F.)
June's two-bar lick continues the chorus
initiated by measures 1 and 2. While bar 3 features Bb Mixolydian,
measure 4 applies a very hip device: the superimposition of the
Ab blues scale over Bb7, which generates the following: b7, b9,
#9, 3, 11, and #5 (to produce other possibilities, chromatically
transpose the blues scale and compare the results to Bb7). Notice
the resolution to G, the 3rd of Eb7. There are many devices for
producing tonal colors not provided by convertional means, some
of which are included in All Blues Soloing. Regardless, of the
resources you use, the most fundamental aspect of a solo is the
phrasing and the overall rhythmic feel.
The lick for July outlines Eb7 in bar
5, which features a bit of syncopation, and then smoothly moves
into a phrase based on Eb diminished (diminished scales are also
commonly applied to dominant chords; for more info see All Blues
Soloing).
August's lick (bars 7 and 8) features
an interesting practice. All of the notes are contained in Bb
Mixolydian, with the exception of B at the end of measure 7).
There are two ways to look at the overall result:
1. As merely the act of adding or changing
a home scale's note to better fit a given chord (here, playing
B instead Bb generates the 3rd of G7).
2. From a theoretical perspective,
in which case playing B instead of Bb generates the D harmonic
minor scale.
Either way, the process generates some
interesting colors in relation to the chord changes.
September's lick (measures 9 and 10)
negotiate one of the blues' several possible IIm7-V7 progressions.
Bar 9 uses C Dorian and a super arpeggio fragment (Bb, D, F),
while measure 10 uses the Gb diminished scale. As always, observe
the phrasing, which features a triplet figure and syncopation
(emphasis of off beats).
October's lick completes the 12-bar
framework with a simple but effective turnaround that negotiates
the chord changes. Next month, we'll change directions. See you
then.
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The lick for May covered the first two bars of a 12-bar blues and is shown here in measures 1 and 2. (Especially notice the chromaticism at the beginning of measure 1 and how Edim7 is outlined in bar 2. Once you get it under your fingers, transpose it to the keys of G, Ab, and C. And if your guitar has a cutaway, you can even try it in F.) June's two-bar lick continues the chorus initiated by measures 1 and 2. While bar 3 features Bb Mixolydian, measure 4 applies a very hip device: the superimposition of the Ab blues scale over Bb7, which generates the following: b7, b9, #9, 3, 11, and #5 (to produce other possibilities, chromatically transpose the blues scale and compare the results to Bb7). Notice the resolution to G, the 3rd of Eb7. There are many devices for producing tonal colors not provided by convertional means, some of which are included in All Blues Soloing. Regardless, of the resources you use, the most fundamental aspect of a solo is the phrasing and the overall rhythmic feel. The lick for July outlines Eb7 in bar 5, which features a bit of syncopation, and then smoothly moves into a phrase based on Eb diminished (diminished scales are also commonly applied to dominant chords; for more info see All Blues Soloing). August's lick (bars 7 and 8) features an interesting practice. All of the notes are contained in Bb Mixolydian, with the exception of B at the end of measure 7). There are two ways to look at the overall result: 1. As merely the act of adding or changing a home scale's note to better fit a given chord (here, playing B instead Bb generates the 3rd of G7). 2. From a theoretical perspective, in which case playing B instead of Bb generates the D harmonic minor scale. Either way, the process generates some interesting colors in relation to the chord changes. September's lick (measures 9 and 10) negotiate one of the blues' several possible IIm7-V7 progressions. Bar 9 uses C Dorian and a super arpeggio fragment (Bb, D, F), while measure 10 uses the Gb diminished scale. As always, observe the phrasing, which features a triplet figure and syncopation (emphasis of off beats). October's lick completes the 12-bar framework with a simple but effective turnaround that negotiates the chord changes. Next month, we'll change directions. See you then. |