blues substitution concepts
cyber text for the theory of American music

Do we sub out in the blues? Of course, everything is negotiable in the American blues performance environment yes? The one cool idea here in regards to substitution in the real time / performance / improvisation / substitution dynamic is that any blues lick can fit just about anywhere in American music. Master of the obvious you say? Well, sure, but what goes along with this "anything can be anywhere" idea is also the thought that really simple blues lines work over theoretically complex harmonies, and really theoretically complex melody lines work over simple blues chords. It is the best of both worlds for players of all levels and styles. Check it out. Simple blues idea over complex blues changes. Example 1.

Ah, the strength of the blue notes even in heavy harmonic traffic. Now, a more complexly configured blues idea idea over simple blues changes. Here we venture into the whole tone / Lydian b7 color then diminished before the half cadence to Four, in the 5th bar of the traditional 12 bar blues form. Example 2.

So, what's the big deal with this? Nothing really, just the artistic idea that the blue notes can be "melodic anchors" for use in the sea of tonality, that by tossing out a few blue notes, we can instantly recenter the music, it's tonal gravity, tonal center and feel. That no matter how far out the music has gone towards the edges of tonality in cacophony, the sounding of a blue note or two can bring it all back to together, oftentimes to the original melodic and harmonic starting point. Sidemen / players who are good listeners can gravitate their parts towards the blue notes signaled by the leader / soloist, thus refocusing ongoing jamms etc., back towards their starting core ideas and colors. Players often do this in creating vamp lines behind the soloist. Can we do this with any of our themes? Absolutely. Do the blue notes cut a little deeper? I think so. Harmonic substitution in the 12 bar blues? Pick a tonality ...