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8

12 bar blue sequences - poffle.com shows at least a dozen. The blues sequence doesn't have to be 12 bars long, it's just that this is the commonest. 8 and 16 are other well used ones. Basically putting 7ths onto each chord will help to bluesify a sequence. Or 9ths, which sound more jazzy. A lot of varieties use 'passing' chords such as diminished to get from ...


8

That notation (1 b3 4 b5 5 b7) is used to relate a scale to the major (ionian) scale. It shows which scale degrees should be flattened or sharpened (and by how much) relative to the major scale. So, you should start with E major scale, not E minor or E phrygian (natural notes from E to E: E F G A B C D). E major scale is of course 1=E 2=F# 3=G# 4=A 5=B 6=C# ...


6

Just to add to these answers, a blues walking bass line tends to me much more repetitive and pattern oriented. They're much more likely to play the same major pentatonic pattern over the progression throughout the whole tune. For Jazz, the lines tend to be more improvisational, different every time around and moving more with the music rather than having a ...


6

Like Tim said, these two genres are really close; there are jazz musicians that play the blues and blues musicians that play the jazz. Usually, the difference is found in the chords. Someone could characterize blues as more 'simple' (without diminishing the genre); a simple blues would have a progression like C7 C7 C7 C7 F7 F7 C7 C7 G7 G7 C7 C7 And ...


5

I suspect the confusion might be in what "Blues" means: Blues is a comment on the feel of a piece of music, rather than necessarily its structure. It's very common of course for blues songs to use the 12-bar chord progression (which is thought to have arisen from slaves singing while working in America), but not exclusively. Exceptions: For eaxmple "Need ...


5

I would say that the basic idea of the (12 bar) blues is this: 4 bars with the feel of I: Could be as simple as I | I | I | I, or as complex as I | vii III7 | vi | II7 | v I7 (notice that in the important places, the harmonic onbeats, the chords are I, and vi (the relative minor), giving the feel of I even though that chord doesn't appear much. 4 bars, 2 ...


5

To be clear, a blues progression is called a I7 IV7 V7 progression rather than I IV V which implies diatonic chords (in Bb that would be Bb major, Eb major, F7). Blues progressions actually do not conform to standard western musical harmony, you are correct by saying that improvisations will sound strange when playing diatonic major modes over the ...


4

This is a really subjective question. If you like playing on a 5 string bass then by all means get a 5 string bass. You might even want to try a 6 string before making that decision. Use however many strings you are comfortable with. There really isn't an absolute answer. Any number of strings is good for any kind of music. In any standard configurations, ...


4

The crossover between jazz and blues is very blurred. Some tracks are impossible to pigeonhole - apart from saying they're jazz/blues. A walking bass is a walking bass, moving often 4 in the bar from one chord tone to the next appropriate chord tone, usually climbing up or down scale notes with chromatics when needed. I guess that as blues tends to use ...


4

We could go the way of Charley Patton's "Hammer Blues" .... | 1 / / / | 1 / / / | 1 / / / | 1 / / / | | 1 / / / | 1 / / / | 1 / / / | 1 / / / | | 1 / / / | 1 / / / | 1 / / / | 1 / / / | Or Skip James' "Cypress Grove Blues" ... | 1 / / / | 1 / / / | 1 / / / | 1 / / / | | 1 / / / | 1 / / / | 1 / / / | 1 / / / | | 5m7 / / / | X / / / | 1 / / / | 1 / / / ...


3

There really are no major limits for playing anything in any key on piano. Certain players are more familiar and comfortable with certain keys, but it is possible for a pianist to play in any key. It's all just a matter of practice. The only minor stumbling block is the fingering of a piece may change with the key.


3

Caleb already gave some great tips, but I have some more specific advice that might help. In my opinion the single best thing you can do to get better at translating what is in your head to what comes out of your guitar is playing along with records and learning songs by ear. This is a form of ear training in a way, but it is more about being able to hear ...


3

Yes! While blues often deals in hardship, that’s not universal. Early blues were often comical or raunchy. Songs like Led Zeppelin’s “The Lemon Song” continue that tradition. And some blues are downright joyous like Stevie Ray Vaghan’s “Pride and Joy,” or pure fun like the old standard “Jump Jive and Wail.” The common thread in blues is that it’s very ...


3

This is not meant to be harsh in any way, I'm just examining possibilities… We start from not knowing what you actually do sound like. Presumably, as you can play an instrument, you can also hit roughly the right note when singing [though it's not a guarantee, it's a fair bet]. Trouble is, without hearing you, no-one can say whether it's because you just ...


3

The sequences you've listed are extremely common, but there are thousands of variations that you could still call blues. So many, that it becomes futile to try and "collect" them. Just listen to lots of blues, listen to the chords and learn to spot the different sequences. One example "Going Back Home" by Dr Feelgood: | 1 / / / | 1 / / / | 1 / / / | 1 / / ...


3

It will depend to a degree on what the instruments are, and how advanced the player is.On piano/keyboard, it's quite easy to play both parts.On guitar, which is,I guess, what you play, it's not easy.Especially in C. You may well be able to transpose the key to E, using E,A and B(7). Or A, using A,D and E.That way, at least, you can put a bass pattern in on ...


3

While teachers and self-study are excellent ways to learn anything, when it comes to learning the blues, I believe you can profit greatly by finding someone who is just a little bit better than you, and just sit down and play together. While the form has evolved over time to embrace real sophistication, it started as a type of folk music. Playing three ...


3

I agree with Tim's answer, but I'd like to add that you shouldn't think of it as changing chords. What you're doing (i.e. playing this on two strings) is actually correct and it's not like 'getting away' with something, but that's all that's to it. It's a line imposed over a chord: the chord is a dominant seventh chord (i.e. in a basic blues either the I7, ...


2

No, you don't need more than one player for the blues, as a lot of recordings show. Just playing the chords one time through will make most people recognize the tune form. If you would then solo using the C, F and G blues scales, changing scale where the chords change, people would still recognize the tune form. Adding the chords at different places in your ...


2

You could call it a V-V-V with key changes, a IV-IV-IV , or whatever. The fact is that in a blues progression there are no key changes or modulations in a particular verse. The chords are related to each other,so in key A, with I, IV and V, it becomes A, D and E. Blues traditionally uses dominant 7th chords to get the 'feel', rather than a 7th just on the V ...


2

In a standard 12-bar I-IV-V blues progression (here in F) ||: F7 | F7 | F7 | F7 | | Bb7 | Bb7 | F7 | F7 | | C7 | Bb7 | F7 | C7 :|| there are three places where you should start trying to incorporate the diminished scale: bar 4, where the F7 chord can be interpreted as a dominant chord resolving to Bb7. Here you can add tension by using the half-whole ...


2

One part of the distinctive Hammond organ sound in rock/jazz is the use of a Leslie speaker cabinet. In my opinion, it is also the reason that Hammond organs were becoming less popular for mainstream music requiring big PAs and selling and broadcasting recordings. Because a Leslie speaker cannot be faithfully reproduced or simulated with reasonable effort. ...


2

"Without resorting to the C minor blues scale, how do I improvise over a I-IV-V progression using the C Major blues when the F is not in the scale?" Simply put, you don't. If anyone can find a single example of the major blues scale of the keynote being used over an entire I IV V I will gladly eat my hat. It is quite different to the usage of the ...


2

In most cases the C minor blues scale is exactly what you want. The ins and outs of this differ depending on the exact style you are trying to convey. You could play the C minor blues scale instead You could play the F major blues scale over the F chords, and the G Major blues scale over the G chords. Try both of these and see how they suit you. The ...


2

The problem with a question like this is that "Blues" is just a word, and when you use a word, it means whatever you want it to mean. In some fields, some words have very well-defined formal meanings, but the field of giving names to styles of music is generally vauge and informal. One person might have the firm belief that if you take a loping slide guitar ...


2

There are plenty of upbeat 12 bar blues songs, e.g.: Many of the songs Little Richard wrote (although they may not be suitable in a church context either ;-), e.g. ...


2

What should I be able to do before I start learning anything blues or jazz related? You should be able to play the chords smoothly through the traditional I-IV-V blues progression in E,A,D,and G with a drum track. Then turn on your iPod and start playing along with simple blues music - Muddy Waters is a great blues artist to start with. His music is ...


1

Well, I remember some blues, cannot find the source right now, that was about somebody whose girl left him and that ended somewhat like "Gonna walk down to the railroad put my head right on the track yeah gonna walk down to the railroad an lay my head right on the track when that old train is a-coming Im gonna pull my head right back." Now that's the ...


1

Also listen to blues artists that you like. Look at transcriptions and you will see the scale parts being used over the chord changes. You will notice in the key of E that the E pentatonic minor scale is used over all chords for tension. Start with a basic minor pentatonic scale in E first then try the major pentatonic to hear the difference of major/minor ...


1

You could use either. When soloing you would want to center the notes you play around the chord being played. The E major and minor pentatonic scale contains the notes E, F#, G, G#, A, B, C#, and D. The notes in a E7 are E, G#, B, and D the notes of an A7 are A, C#, E, G, and the notes of a B7 are B, D#, F#, and A. Of all the notes used in the 3 chords, ...



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