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12 Bar Blues

12 Bar Blues

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Martini Valérie
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215 views3 pages

12 Bar Blues

12 Bar Blues

Uploaded by

Martini Valérie
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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12 bar Blues

By
Per Danielsson
There are certain elements in jazz that all students should practice such as ii-V-I progressions,
major and minor scales, rhythm changes and the 12 bar blues. Learning the sound and variations of
the 12 bar blues will greatly improve your playing, both melodically and harmonically.
It is also important to know the blues from a historical perspective because it is the foundation
of jazz. Treatment of the blues has changed dramatically during the history of jazz. However, it has
always been a part of every jazz musicians musical vocabulary. Louis Armstrong, Duke Ellington,
Charlie Parker, John Coltrane, to mention a few, all played the blues but in different styles. I think its
safe to say that blues is the common denominator between all jazz musicians, regardless of what
style of jazz they are playing.
This article contains examples of chord substitutions that are frequently used when playing a
12 bar blues. It is important to be able to hear and understand the most common blues progression in
order to become a skilled jazz musician. When the members of a rhythm section listen to each other
and play the same chord changes, greater support will be provided for the soloist.
Practice Hints:

Practice the changes slowly and listen to their functions. Look for 2-5-1
progressions, chromatic and tri-tone movement.
Create your own versions of the blues by using the given material.
Practice with your metronome and work out comping patterns.
Learn the voicings.

Basic 12 Bar Blues Changes

B 13

F13

& b c ww
w
? b c bw
w
b

B 13

& b www
5
? bw
b w

Gmin9

& b ww
w
9
? w
b w

ww
w
bw
w
b

ww
w
b ww
w

B 13

C13

w
ww
w
w

wwF13
w
ww
bw
wwF13
w
ww
bw
F13

b www
w
bw
w

wwF13
w
ww
bw
D9

ww
w
w
# ww

C13

ww
w
w
w

12 Bar Blues Changes with Turnaround.

ww
w
b ww
w

ww
b
c
w
&
w
? c b ww
b
b

B 13

Am7(b 5)

w
ww
w
w

Chormatic and Tri-Tone Movement.


Chromatic
Tri-Tone

& b c

? b c b

# ##

n nn

#
#

b n

b bb
b

G 13

B 13 A 13 G13

nw
& b ww
5
nw
? b ww
b
& b

9
?
b

b
b

D 9

b b
b
b

C9

F13

B 9

# 11
D7b 9

Am7( 5)

D7( 9)

Gmin9

b b

C7Alt

Chromatic
Chromatic
Tri-Tone

F13

b b G 13
n b b

b b n b b

B 13

Gm9

Chromatic
B 13

B13

C13

& b ww
w
9
?b w
w

B 13

F13

ww
w
bw
w

Gmin9

F13

F13

ww
w
b ww
w

B 13

wwF13
w
ww
bw

ww
w
ww
bw

B 13

F13

&b

Note: Bar 7 1 to 4 Dominant.


Bar 8 minor 2-5
Bar 11 minor 2-5
Bar 12 Major 2-5

b 13
#
A 9

b bb
b
n

G 13

E9

n
#

#
n
b

A 13

n
b
b

F13

B13

#
n #
#
#

E 9

D7( 9)

b
b

G13

G 13

b bb

Suspended to Dominant Sound. These changes will give the improviser more freedom.
Try also to keep the suspension for an entire bar to create a more modal sound.
F7sus

b
c
&

b
?b c
B b7sus
ww
&b w
b www
5
?b b w
Gmin7

ww
b
& w
9
w
? b ww

b
b

F13

B 13

B 7sus

ww
w
ww
w
b w

B 13

F7sus

B 13sus

b
b

ww
w
w
b ww

ww
w
b ww
w

F7sus

C7sus

F13

E7sus

n
#

A 13
A #13
9

#
nb

E 7sus

D7sus

b
n
b bb

n
n

G13

G 13
b
b b
b b

Parker Blues. This is a series of chord changes, more so than an actual blues. Its named after the
great Charlie Parker who used this concept a lot. The Parker blues concept should be mastered.
Try putting some of the Parker blues changes into a regular blues.

Em7( 5)

FMaj7

ww
b
c
w
&
w
? b c ww
b

B 13

ww
b
& w
5
? b b www
ww
w
ww
w

Gmin9

&b
9

?b

B min9

b b
ww
w
ww
w

C13

A7( 9)

#
b

E 13

Dmin9

Amin9

F13

G13

D13

D7Alt

b bb
b

Cmin9

F7Alt

D 13

A min9

n b b
Gmin9

C7Alt

b b
b

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