blues realizations / major tonality

First chorus. The first chorus is comprised of what is commonly known among players as a 12 bar / 1, 4, 5 blues. It is used all around the world by players of all ages and abilities to have fun playing music with each other. The 12 bar blues form originated a long time ago in America and ever since has been the form of choice for testifying blues and jazz players globally. Oftentimes, it is a good beginning point when we jam with new players. As there are so many cool tunes written in this format, everyone in the jam might have some skill with it. If not, maybe try to teach it to them if the setting is right. Example 1.

here is the sound of the first chorus

The 12 bar blues is simply three / four bar musical phrases, which when combined together create the 12 bars of one complete chorus of a "12 bar 1, 4, 5 blues." The 1, 4, 5 part of it refers to the root numbers of the chords used and are derived by adding numbers to the letter names of the pitches which comprise the blues scale. Cool with the numbers? If new to the blues, learn as much of the melody below as possible. Getting this line under your fingers will give you a working feel for the blues grouping of pitches in the major tonality. 

Roadmap of chord symbols for the first chorus. Three / four bar phrases. Example 1a.

First chorus, bars 1 through 4. The first phrase starts on the One chord or tonic. First theme created from the pitches of the blues scale sets the tone. Example 1b.

Bars 5 through 8. The second phrase starts on the Four chord in bar 5. Back to tonic in bar 7. Same melodic idea. Example 1c.

Bars 9 through 12. The third phrase starts on the Five chord for bar 9, moves to Four in bar 10, then back to tonic in bar 11. The Five chord in bar 12 creates the Five to One cadential motion for the return to the tonic. Same melodic idea. Example 1d.

Example 1e.

complete sound file for the first chorus, try jamming along, 10 choruses in C.

Can you play the line? Just keep trying, you'll get it and then have a C blues scale under your fingers. Try the loop below and improvise your own lines. Use the pitches from the blues grouping to create your melodic ideas. Remember that one of the golden rules for improvisation is that the melody of the tune we are improvising on will pretty much always work when we run out of ideas while soloing. Strive to learn the 12 bar blues form, maybe taking the blues challenge at some point.

Example 1f.

Example 1g.

Example 1h.

Second chorus. Subbing the Four chord for tonic. Our first substitution in this solo is replacing the tonic chord with Four in the second measure of the first four bar phrase. Very common and cool. My friend Diane calls it the "fast four." The melody inverts itself rhythmically from the first chorus while continuing to exclusively use the blues grouping of pitches. Also carried over is the vamp like nature of the line, whereby one four bar melodic idea is repeated three times to create the 12 bar melodic format. Repeat one idea 3 times? Something so simple and so cool that everyone does at some point in their development. Example 2.

Chord symbols for the second chorus. Example 2a.

Second chorus, bars 13 through 16. Tonic moves to Four in the second bar, then returns to complete the phrase. New rhythm ideas in the melody include an off beat accent in the first bar and the first appearance in the solo of the triplet ( 3 ) on beat four of bar 13, which squeezes three 8th notes onto one beat. The melodic idea could easily become it's own tune called... maybe write one yourself? Repeat one idea 3 times and give it a name? Way fun to play our own music. Here is the music. Example 2b.

Bars 17 through 20. Identical to the first chorus, the second phrase starts on the Four chord in bar 17. Back to tonic in bar 19 to complete the four bar phrase. Same melodic idea. Example 2c.

Bars 17 through 24. Identical to the first chorus, the third phrase starts on the Five chord for bar 21, moves to Four in bar 22, then back to tonic in bar 23. The Five chord in bar 24 creates the Five to One cadential motion for the return to the tonic. Same melodic idea. Example 2d.

Example 2e.

Can you play the line, if not try again, you'll get it. Try the loop below and improvise your own lines. Use the pitches from the blues grouping to create your melodic ideas. Key in on the motion to Four as described above. Remember, the melody of the tune we are improvising on will pretty much always work when we run out of ideas while soloing. Also, try to sing a melody then play it on your chosen instrument. Just for fun, maybe try to include an off beat accent and a triplet rhythm in your lines.

Third chorus. Alternating thirds in the melody. Our next substitution in this solo is in the melody and is concerned with the alternating between the major and minor third in the melodic line. Very common and cool. The rhythm values settle down to quarter notes and the line begins to take on a Dixieland styling, almost a marching type feel, using the major third / minor third interplay as it's basis. Otherwise, pretty straightforward. A cool tune using this simple but effective melodic technique is "Tenor Madness" by Jazz legend Sonny Rollins check it out as time permits.

Chord symbols for the third chorus.

Third chorus, bars 25 through 28. Tonic moves to Four in the second bar, then returns to complete the phrase. Alternating thirds in the melody create a new mood in the solo. With the inclusion of the major third in the line, we borrow for the first time in this solo a pitch from the C major scale, expanding the colors of our melodic palette. New rhythm ideas in the melody include quarter notes on the down beat, a solid basis for getting one's lines to swing. An off beat accent on the and of four in bar 28 is rhythmic motif carried over from the last chorus.

Bars 29 through 32. Identical harmonically to the first chorus, the second phrase starts on the Four chord in bar 29. Back to tonic in bar 31 to complete the four bar phrase. The melody shifts to chord tones of the Four chord which is repeated over the tonic again subbing in the major third in the melody. Another new pitch is added, the major sixth, borrowed from the C major scale.  

Bars 33 through 36. Identical harmonically to the first chorus, the third phrase starts on the Five chord for bar 33, moves to Four in bar 34, then back to tonic in bar 35. The Five chord in bar 36 creates the Five to One cadential motion for the return to the tonic at the top of the next chorus. Octave leap in the melody helps to drive the quarter notes.

Got the melody or parts of it under your fingers? Then perhaps try the loop below and improvise your own lines. Try the pitches from the blues grouping, maybe adding the major third and major sixth above the root to create your melodic ideas. Key in on the melodic motion between the major and minor third as described above, see if you can get the sounds to your liking. Remember, we can play the melody of the tune while improvising if we run out of ideas while soloing. Perhaps try to sing a melody then play it on your chosen instrument. Just for fun, try to create an idea using the major third pitch while soloing over the Four chord. Ouch!

Fourth chorus. Adding the Two chord to the turnaround. The next substitution in this solo is in both the melody and and the harmony and is located in the third / four bar phrase. We simply create a Two / Five / One cadence as part of the turnaround. Again, we continue to mix diatonic elements from the C major scale and the C blues scale. Very common and cool. The rhythm values start to cook a bit more with more eighth notes while retaining the rhythmic motif from the last chorus. The addition of the Two / Five heralds a big step away stylistically from the first three choruses. Perhaps more jazz than blues, it is a nice option to consider. A cool blues tune using this Two / Five turnaround is Thelonius Monk's "Straight No Chaser."

Chord symbols for the fourth chorus.

Fourth chorus, bars 37 through 40. Tonic moves to Four in the second bar, then returns to complete the phrase. The melody is very much the same as in the last chorus but now with the addition of the chromatic eighth note line in bar 39. Same rhythmic motif tie across the bar line into measure 40 making the bar line go away.

Bars 41 through 44. Identical harmonically to the first chorus, the second phrase starts on the Four chord in bar 41. Back to tonic in bar 43 to complete the four bar phrase. The second melody phrase from the last chorus is now jazzed up a bit with the eighth notes, increasing the forward motion of the line a bit. Another new pitch is added, the C# in bar 44, borrowed from the C chromatic scale. Using this pitch smoothes out the melodic motion to the last phrase of this chorus. Remember that three / four bar phrases makes a 12 bar blues yes?

Bars 45 through 48, bar 45 contains the new additional element, the Two chord. It's called that here because of its theoretical derivation. The pitch D is the second scale degree of the C major scale and the diatonic seventh chord built on Two is a minor seventh chord. Our blues chord progression for the third phrase has evolved from Five / Four / One in the first few choruses to Two / Five / One as in the example below. The Two and Four chords are very similar, it is in the root motion of the bass which makes the Two / Five motion a bit more jazzy. Compare their pitches. Cool with spelling chords?

See the F major triad ( F A C ) in the D minor 7th chord? The melody created over the Two chord is simply a quarter note arpeggio of the chord tones mentioned above. The harmonic motion to the Five chord in bar 46 adds the second component of the Two / Five / One, setting up the return to the tonic in 47, which completes the Two / Five / One cadential motion. The fourth chorus closes in bar 48 with the dominant seventh # 9 # 5 ( G 7 #9 #5 ) to support the blue note minor third in the melody.

Cool with the line? If so, try the loop below and improvise your own lines. Use the pitches from the blues grouping now adding the major third, major sixth and sharp one to your creations. Key in on the melodic and harmonic motion of the Two / Five One in the third phrase. Remember, that the melody of the tune .... Also, try to sing a melody then play it on your chosen instrument. Like "sing the line, play the line?" Yep.

Fifth chorus. Adding the Six chord. A couple of cool new things happening in the fifth chorus. In the first phrase we sub a Two / Five cell setting up the motion to Four. Very common. Second phrase includes chromatic motion from tonic downward to Six. This is a bit advanced, not so much the Six chord setting up the third phrase as the chromatic motion to get there. The second half of the turnaround in the last phrase is also chromatic.

Chord symbols for the fifth chorus.

Fifth chorus, bars 49 through 52. Tonic moves to Four in the second bar, then returns and gets subbed out by the Two / Five motion into Four to complete the first phrase. G is the second scale degree of F major and C is the fifth, thus Two / Five of Four. Similar melody as in the last chorus but now with the addition of the arpeggiated Two / Five figure in bar 52. I love this sub of Two / Five going to Four, potentially lots of ways to do it. New rhythmic motif sets up a consistent quarter note lick on beats three and four for easy accents. 

Bars 53 through 56. The second phrase starts on the Four chord in bar 53. Back to tonic in bar 55 which then descends to Seven then flat Seven then Six, setting up the third phrase. One voicing accomplishes this task, termed a constant structure by some theorists, one chord shape is moved identically down by half steps, you know like power chords. Remember those? The melody here is one idea moved down in half steps. I think of this kind of melodic idea as running one idea through a chromatic filter.

Bars 57 through 60. The Two / Five with bit of counterpoint in bar 58 between the lead and bass sets up the return of the tonic in bar 59 followed by the upward motion of the minor third and downward chromatic motion again using the constant structure idea from bars 55 and 56 above. The Db on beat three in the bass line of bar 60 resolves on beat one to the tonic, at the top of the next chorus.

complete sound file for the fifth chorus, try jamming along, 10 choruses in C.

Cool with the line? Perhaps try the loop below and improvise your own ideas. Use the pitches from the blues grouping now adding the major third, major sixth above sharp one to your creations. Key in on the Two / Five into Four in the first phrase. The chromatic motion in the 2nd and 3rd phrases. Maybe begin to think about finding or creating an arpeggio study of some sort for yourself. Remember, the melody of the tune we are improvising on will pretty much always work when we run out of ideas while soloing. Really? Also, try to sing a melody then play it on your chosen instrument. Just for fun perhaps, try to create an chromatic melodic idea over a stationary harmony or chord.

practice loop for jamming, ten choruses of 5th chorus blues changes in C.
practice loop for jamming, ten choruses of uptempo 5th chorus blues changes in C.

Sixth chorus. Adding the tritone sub. A couple of cool new things happening in the sixth chorus. In the first phrase, the Five chord of the Two / Five cell going to Four becomes a tritone sub on beat three in bar 64. Very common and often essential among jazz hipsters. Second phrase includes a Two / Five cell setting up the motion to the tonic in bar 66. Diatonic major stepwise motion to Six. This is again a bit advanced, not so much the Six chord as getting there via the Three chord. Thus, bar 68 could be viewed as Two / Five of Two? Yes it can be viewed that way. The second half of the turnaround in the last phrase is back to the more bluesy tonic / flat Seven motion. Check out Benny Golsen's tune "Killer Joe", which uses this tonic / flat Seven motion for the harmony of the A sections.

Chords for the 6th chorus, bars 61 through 72.

Sixth chorus, bars 61 through 64. Tonic moves to Four in the second bar, then returns and gets subbed out by Two / Five into Four to complete the phrase. This time the root of the Five chord ( Gb ) is a tritone away from the root of the C 7 chord it is subbing out for, thus the name tritone substitute. G min 9 / C7 becomes G min 9 / Gb 7. This adds a nice chromatic motion in the bass line. New rhythmic motif in the melody is actually carried over from the turnaround in the fifth chorus. This organic creation of one idea from another is a way cool thing to do, gives a sense of development to the solo and helps glue things together. Advanced players talk about coming up with one nice idea per chorus and developing that one idea through the form of the tune. Then evolving this idea into a new one and repeating the process in the next chorus. Simple in theory but a continual challenge for players at all levels of development. Here is the music. P.S. If this is the first time your getting at the tritone sub, ya owe me one ...

Bars 65 through 68. The second phrase starts on the Four chord in bar 65 which changes to the minor color and becomes part of a Two / Five, setting up the motion back to the tonic from a whole step below. The melody in bar 65 is a cliche jazz quote from Ornithology by Charlie Parker. Back to tonic in bar 67 which then ascends from One to Two to Three to Six, setting up the third phrase. This is fairly common in both jazz and blues playing. The melody here is first scalar in bar 67 then arpeggios in bar 68. New rhythmic figure of the quarter note triplet in bar 68 to offset the eighth notes.

Bars 69 through 72. Nice Two / Five idea includes the flat nine dissonance for the first time as a passing tone in bar 70. Tonic / flat seven vamp for the turnaround. Octaves in the bass are always cool and work almost like pedal tones.

Got the line? Try the loop below and improvise your own ideas. Maybe try 8th notes. Key in on the tritone sub in first phrase. The stepwise motion in the 2nd phrase. Time to make a shedding chart showing the tritone sub as part of the common Two / Five in all twelve keys? Just for fun, try to create one idea and move it down in whole steps over the form of the 12 bar blues.

practice loop for jamming, ten choruses of 6th chorus blues changes in C.
practice loop for jamming, ten choruses of uptempo 6th chorus blues changes in C.

Seventh chorus. Minor Four chord / stepwise cadential motion. A couple of cool new things happening in the seventh chorus. In the first phrase, the Two / Five tritone sub now includes it's diatonic Two chord. This really changes the complexion of the substitution. This Db / Gb motion really implies that we are moving into another tonal center or key. By not moving to the new key, this tritone cell adds a refreshing if but only brief insertion of cool, outside color. Second phrase contains a personal favorite. After getting to Four in bar 77, its coloring shifts to minor, setting up some new options. Third phrase now contains a tonic blues lick in the upper register which really builds some energy. Common Three / Six / Two / Five chord cycle turnaround setting up the next chorus.

Chord symbols for the seventh chorus, bars 73 through 84.

Seventh chorus. Bars 73 through 76. Tonic moves to Four in the second bar, then returns and gets subbed out by Two / Five into Four to complete the phrase. This time both the Two and Five chords are substituted out. This adds a nice outside color to the progression. New rhythmic motif in the melody is a cliche quote from T. Monk's "Blue Monk." Chromatic melodic motion throughout.

Bars 77 through 80. The second phrase starts on the Four chord in bar 77 then changes to the minor color built on Four in bar 78. The minor color continues in bar 79 and becomes part of the Two / Five cell which sets up the motion to the last phrase. New rhythmic motive in the melody builds on the idea of the first phrase.

Bars 81 through 84. Two / Five idea includes the suspended fourth on the dominant Five chord for the first time in this solo in bar 82. Three / Six / Two / Five in bars 83 and 84 sets up the return to the top. The melody here is starting to really build and start the ascent towards the climax of the solo. 

Got the line? Key in on the tritone sub in first phrase. In the second phrase, simply try to make your melodic idea evolve from major to minor, then same idea down a half step. Just for fun, try to create one idea and move it down in whole steps over the form of the 12 bar blues.

Eighth chorus. Half step motion. A couple of cool new things happening in the eighth chorus. In the first phrase, we alternate between tonic and flat Two, making it's first appearance in the solo. We simply sub out for the Four chord in the second bar using flat two. After getting to Four in bar 89, the coloring shifts to minor and descends by half step for the rest of the phrase. Third phrase now contains what I call a double Two / Five cell, the two components of which are a half step apart. This is a reasonably theoretically complicated addition.

Chord symbols for the eighth chorus, bars 85 through 96.

Eighth chorus. Bars 85 through 88. Flat Two subs for Four in bar 86, then the tonic returns followed by tritone sub Two / Five heading into Four of the next phrase. First phrase is a major pentatonic lick based on the major triad, which simply moves up then down by half step to hang with the changes. First phrase ends with tritone sub Two / Five setting up the motion to Four. Triads in the bass line of bars 85 and 86 mirror the melody.

Bars 89 through 92. The second phrase starts on the Four chord in bar 89 then changes to the minor color built on Four in bar 90. The minor color continues in bar 91 and 92. Arpeggiated idea in bar 91 is simply reversed in 92 and moved down a half step. Stepwise, walking bass line keeps things driving along.

Bars 93 through 96. Octave leap sets up the Two / Five idea in bar 93 and 94. Double Two / Five separated by half step in bars 95 and 96 works like the Three / Six / Two / Five from last chorus. This type of half step double Two / Five is a bit uncommon. In the example below, we simply create one idea and move it up by half step to cover the harmony. When soloing, simply create an idea an modulate it up a half step during it's execution. John Coltrane loved this type of motion.

Key in on the half step shift and the tritone sub in first phrase. In the second phrase, simply try to make your melodic idea evolve from major to minor, then work the same idea down in half steps. Good luck with the turnaround in the third phrase. Just for fun, try to create one idea and move it down in half steps over the form of the 12 bar blues.

practice loop for jamming, ten choruses of 8th chorus blues changes in C.
practice loop for jamming, ten choruses of uptempo 8th chorus blues changes in C.

As time permits, find the recording and chart for John Coltranes' Moments Notice from his "Blue Train" album. Although not a tune in the blues form, "Moments Notice" is among the first jazz compositions to use the double Two / Five motion, very cool.

Ninth chorus.  Adding the diminished color. A couple of cool new things happening in the ninth chorus. First we simplify the first phrase back to the changes used in the second chorus. In the second phrase we add passing diminished chords. These colors may become integral parts of your palette, as the color really helps to drive things along, pushing the energy level up another natcho. In the third phrase we use the dominant seventh flat nine color as part of the Three / Six / Two / Five turnaround. Our melody in the ninth chorus is initially diatonic triads as a continuation from the last chorus.

Chord symbols for the ninth chorus, bars 97 through 108.

Ninth chorus. Bars 97 through 100. Outlining the One and Four triads in the melody.

Bars 101 through 104. The second phrase starts on the Four chord in bar 101 then shifts to sharp Four diminished in bar 102. This is the first appearance of this diminished color. Motion back to tonic in bar 103, which uses a chromatic melody to set up the sharp One diminished color in bar 104. Shed this motion from one to sharp One diminished through all twelve keys as time permits. It can be a very exciting addition almost anywhere in the jazz and blues music.

Bars 105 through 108. Whole notes in the melody? What's up with that? Try getting a big, round sound on your horn and maybe add a bit of shake or vibrato towards the end of the pitches, players call this "warming" up the sound. Melody of the turnaround in bars 107 and 108 emphasizing the b9, providing a nice dissonance contrast and balance to the triadic nature of the opening melody of this ninth chorus.

Focus on the motion from the major triad to the diminished color a half step above. Just for fun, try to create one long chromatic line over the whole 12 bar chorus.

practice loop for jamming, ten choruses of 9th chorus blues changes in C.
practice loop for jamming, ten choruses of uptempo 9th chorus blues changes in C.

As time permits, shed the motion from a major triad to the diminished color a half step above. This is achieved by simply raising the root of the major triad a half step while retaining the third and fifth of the major triad. See bars 101 and 102 above. Start running this motion through the 12 major keys if so inclined.

To continue on with the study, click here.

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Charlie Chaplin