transposing one idea / 12 bar blues

The idea of transposing one musical idea through the 12 bar blues form is to basically try and develop the idea we just played, changing pitches ( transpose ) as the music moves through the form and harmony of a basic 12 bar blues tune. The key phrase in this concept is to develop the idea we just played. We simply transpose our idea to accommodate the changes in the harmony. With a simple realization of the 12 bar blues, this is potentially not all that difficult. But as the harmony becomes more complex, we increase the challenge level of transposing our melodic idea through the changes. Along similar lines, as the melodic transposition / harmony becomes more complex, so does our challenge to be musical, to organically create ideas and develop them through the body of the tune in a musically pleasing fashion. With the melody of the tune we are playing providing an initial idea to start our improvisations, we can use aspects of this melody to weave a common thread through our improvisations.

So much of the live performance of the various styles American music include sections for improvising our own melodies. Based on the idea commonly known as theme and variations, the concept of transposing one melodic idea through the harmony and form of the tune is a good way to enter into developing your vocabulary and language for improvisation. In the right hands, tremendous emotional power can generated from the most basic of ideas, both philosophical and musical. 

The following musical examples simply takes one melodic motive, based on the triad, and transposes this idea through various degrees of difficulty within the musical form of the 12 bar blues. Using a chart to show the harmony being used, each of the 12 segments representing one musical measure and containing the chord symbols used in the music which follows. Example 1.

Here is the music realized by running major triads through the 12 bar form. Example 1a.

In the next idea, we use the same melodic idea based on the triad and add a few chord substitutions, increasing the complexity of the music. These changes are a more jazz realization of the 12 bar blues form. Example 2.

Here is a 12 bar blues running or transposing the triad through these changes, i.e., transposing our one triad idea through the harmony and form of the tune. Example 2a.

It could be argued that the above realization simply arpeggiates the chords, which it does, you say potato, I say patatoe... Just kidding, but we could also say that we are running the triad and it's extensions through a blues filter. I would agree that the above music is really not all that creative or musical, kinda vertical and would not be all that cool if it were to be the singers part, i.e., it is not that "vocal" of a line. But as a way to look at transposing one idea through the blues form with some interesting substitutions, it is one way to start the process. Arpeggiating the changes also provides a "skeletal" look at the changes, which once under the fingers, provides a solid working framework for expansion.

This next realization is based on the same changes as above and is meant to be a bit more melodic and musical. We continue for the most part to think in terms of triads and their extension to the blue seventh, but begin to add a more vocal quality to the lines ( sing the line, play the line ). Using octave transposition, morphing triads into scales, creating a bit of curiosity and forward motion rhythmically, all help to bring this transposing of one idea through the 12 bar blues into a new and more musical presentation. The ultra cool thing to keep in mind is that the process we are discussing is usually done in real time, while playing music, and it's the genius of the individual players to make passionate, original music out of the triads, scales, chords etc., that make up our tonal resource. So very cool and unique to the world is the spontaneous creation of American blues, jazz, rock, pop, hip hop and on and on. The following chorus expands on the above idea by running one triadic idea through the blues filter. Example 3.

What cha think? Lift any cool ideas? Now that you've looked at both realizations, here is a sound file of both choruses back to back for a real time comparison. Start the sound file and try to scroll along with the written music on the screen. Note the measure numbers of cool musical ideas that strike your curiosity, then go back and explore. Extract that bit of color, put it on your palette and it's yours forever!

Can we use the same development technique of running one idea per chorus through other forms and styles of music? Exactly. A rather simple but potentially huge improvisational approach and concept.

Where to next?

review new ideas

"While we are postponing, life speeds by."

Seneca (3BC - 65AD)