blues

In the Bobby Bland version the V7 is followed by a bVI7, which is simply the same as the V7 with all of the notes up a half step. The V7 is D F# A C, so this up a half step is Eb G Bb Db. If you think in sharps better, then you get D# F## A# C#. The F## is the same note as G, so it may be easier for you to think D# G A# C#.

The V7 Chord is D F# A C and is found here: 1+ 1 2' 3" 4+ 4 6
The bVI7 chord is Eb G Bb Db and is found here: 1' 2 3' 4' 6+ continue reading...

With Root (G), 2nd (A), 3rd (B), flat-3rd (Bb), the descending chromatic movement of B to Bb is moving to A for Bar 9. The A could be the root note of the ii7 Chord as in the Allman Brothers version or to the 5th of the V7 Chord as in the Bobby Bland version.

Play to the Allman Brothers version starting with Bar 7 a root note progression of (two beats each) 2, 3", 3, 3', 3" and now that you're on the ii7 Chord play this 3" and the rest of the ii7 Chord for a line of 3" 4+ 5+ 6+ in eighth notes to hear the chord. continue reading...

The chord progression for Bars 7 and 8 went (two beats each): Root (G), 2nd (A), 3rd (B), flat-3rd (Bb). The B and Bb are moving downwards chromatically to A for Bar 9. What chord would you choose that has A in it? Think about this for tomorrow's tip.

Using the information below...

G7 = G B D F = 1 2" 2 3 4 5 6+ 7 8 9 9+
Am = A C E = 1+ 2+ 3" 4+ 5+ 6 7+ 8+ 10 10+
Bm = B D F# = 1 2' 3 4 7 8 9'+ 10'+
Bbm = Bb Db F = 1' 2" 3' 4' 5 9 10"+

These are the lines I like to play (one note per chord... two beats each)

Example #1 = 1 2+ 2' 2" (leads to 2+ in Bar 9)
Example #2 = 2 3" 3 3' (leads to 3" in Bar 9)
Example #3 = 3 4+ 4 4' (leads to 4+ in Bar 9)
Example #4 = 5 5+ 4 4' (leads to 4+ in Bar 9)
Example #5 = 6+ 6 7 9 (leads to 4+ in Bar 10) continue reading...

The three most common versions of this song (T-Bone Walker, Bobby "Blue" Band and The Allman Brothers) all have different chord progressions. The T-Bone Walker version is pretty straight forward and most players can play this by ear without study. The Bobby "Blue" Band and Allman Brothers versions have more defined alterations to the 12 Bar Blues progression and study is needed to play them well.

Bars 7 and 8 are the same in both the Bobby "Blue" Band and Allman Brothers versions, so let's focus on those bars first.

Here's the chord progression, each chord lasting two beats... continue reading...

Over the holidays I listened to Jimi Lee's new CD compiled of live performances of jazz standards. On this CD he sings, plays guitar and on every tune plays tasty harmonica. If you like jazz standards (Fly Me To The Moon, Bye Bye Blackbird, etc.) then I think you'll love this CD http://www.jimileeband.com/shop/

Jimi plays altered-tuned harps on this CD as well, so one of my students asked him to put a list together with the keys and turnings he used (thanks Dave) and Jimi posted this on his website (thanks Jimi) http://www.jimileeband.com/shop/jimi_lee_jazz_standards_cd_harp_key_list/

Stormy Monday is one of the most common songs to be played at jam sessions, or as the token blues song that a non-blues band knows how to play. It's so common that you'll see "No Stormy Monday or Mustang Sally allowed at this jam" hung on the wall at some clubs. With this disclaimer stated, you'll want to become familiar with this song due to it being so commonly played and for the fact that it's not a standard twelve bar blues.

Your homework today is to listen to the three most common covered versions of this song...

1) "Stormy Monday" T-Bone Walker continue reading...

The first eight bars follow the standard 12 Bar Blues progression. In bars 9 and 10 where we expect a V7 to iv chord (it's common for a minor blues to have a major V chord), in this song it's a bVI (flat six chord) to V7. In 2nd Position (E Harmonica) this chromatically descending chord progression (by half step) works out well as 2 to 2', 3' to 3" or 3' to 4+. In 3rd Position (A Harmonica) 3' to 3", 4 to 4', 5 to 5+ (and its octave equivalent 2" to 2+) or 2" 2 (and 5 6+) works well. Experiment with these to see which sounds best to you.

Roger "The Archivist" Trobridge (most known for his work with the National Harmonica League in the UK) asked that I put together a radio program based on the series of articles that I wrote for their magazine on playing the blues chromatic. In this program you'll hear George “Harmonica” Smith, Little Walter, William Clarke, Rod Piazza, Rick Estrin, Mark Hummel, Paul deLay, Dennis Gruenling, Mitch Kashmar, Gary Primich, Paul Oscher, Steve Guyger, Lynwood Slim, Kim Wilson and Jean “Toots” Thielemans (my apologizes for the other great players that I didn't have time to include). continue reading...

This song brings two challenges to harmonica players... it's in minor and it has a chord substitution for Bars 9 and 10.

If you decide to play this in 2nd Position you'll need an E Harmonica to play in Bm (B minor). You'll want to stick to the blues scale...

Lower Octave = 1+ 1' 1 2" 2
Mid Octave = 2 3' 4+ 4' 4 5 6+
High Octave = 6+ (6' 6) 7+ 8 9 9+

If you choose to play in 3rd Position you'll use an A Harmonica. Again, the blues scale is a good scale to focus on...

Lower Octave = (1+) 1 2" 2 3''' 3" 4+ 4
Mid Octave = 4 5 6+ 6' 6 7+ 8
High Octave = 8 9 9+ 10 10+ continue reading...