Lesson 21

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Lesson 21 TEF's

Notes to Lesson 21

This lesson is entitled Bop Blues Progressions in G Major.  For some folks, the terms Bop and Blues might need defining.

Let's start with "Blues".  The classic blues is built on a 12-measure harmonic structure:

12-Bar Blues Harmonic Structure

The first 4 measures are tonic harmony, often all as a Dominant 7 type chord for the tonic.,  Often Measure 2 is a IV chord or common substitutes, returning to I in Measure 3.   Most of the time, Measure 4 is a I7 chord that leads to two measures of a sub-dominant (IV) chord.  This can also be a dominant 7 variety of the IV chord or any substitute for the IV.  There are two measures of tonic harmony leading to a measure of V7, then a measure of IV(7), and at Measure 11 we return to the Tonic.  Typically, in Measure 12 we have a turn around ending on the V7 chord to lead us back into Measure 1.   In Jazz and modern Blues, Measures 7 through 10 are often changed to chord progressions based on the Circle of 4th's, such as VI7 - II7 - V7.

Bop, sometimes also called Be-Bop or Re-Bop, refers to a type of jazz that became popular in the early 1940's.  The style borrowed harmonies of the famous swing era, but featured improvised melodies based on the chords rather than improvising around a melody.  Also, the tunes tended to be up tempo.

Keeping these ideas in mind, we can formulate a definition of "Bop Blues Progression", as an up tempo Blues, heavy with chord substitutions.  Later, we'll write improvisations for these based on the chord progressions.

The Blues are such an important part of popular music, whether it is completely faithful to the idiom, or has borrowed elements to use in other musical idioms.  Way back in Lesson 4, Mickey gave us our first Blues progression.  I suggested that you create a Blues Progressions Workbook Folder.  Let's add to it, starting with analyzing Mickey's three variations plus the bonus variations by comparing them to the classic 12-Bar Blues Harmonic Structure:

Exercise 1:  Mickey uses our new Form 32, a G-13 as the tonic for the first three measures.  Measure 4 has a Form 33 G7#5 as the I7 chord leading to the IV subs.  Mickey uses a G min7 to sub for the C or IV chord in Measure 5.  Measure 6 is divided starting with a G min6 sub for the IV and an F# Maj7 as a passing chord that leads to a G Maj7, the I chord in Measure 7's first beat.  Mickey then walks chromatically up and then down using min7 chords until Measure 9.  There he changes the harmonic structure a little by substituting a ii chord for the V.  This is a very common substitution in modern blues along with II chords.  Measure 10 has V harmony instead of the IV harmony.  Measure 11 resolves to the tonic G Maj6, and Measure 12's turn around is a D13b9, the V chord for G.  Note Mickey's rhythm, a distinct departure from our "Chunk" style.  I believe that Db and Eb are not practical as written, or at least on my guitars, but I include them so that you can make up your own mind (or maybe contribute a playable alternative?? [hint, hint])

Exercise 2:  This progression is very similar to Exercise 1.   At Measure 7, where Mickey doesn't change chords on each beat, but rather uses a variation of a progression we've come to know from our earlier exercises, by playing the descending min7 chords by playing two different forms of each one. Measure 9 is the same as in Exercise 1, but Measure 10 uses a Form 30, 10, and 33 to sub for the V harmony.  Measure 11 has a Form 32 G13 as a sub for the tonic, and Measure 12 has the same turn around as Exercise 1.  C and Db are not practical as written, in my opinion.  What do you think?

Exercise 3:  This is my favorite of Mickey's Blues harmonies and in the future I've used it as a background for lessons on blues improvising.  Measure 1 starts on a I Maj7 and then goes to a Form 29 G13.  This leads to the 2nd measure where Mickey is using IV harmony with a IV Maj6 to a #iv dim7.  Measure 3 starts with what Mickey's calling a D Maj6.  Per Lessons 18 and 19 we learned this is really a G Maj9.  The last 1/2 of that measure he uses a C Maj6 as a passing chord to go to Measure 4's I7 harmony, a G13, then a G9b5.  Measures 5 and 6 are Forms 32 used as a IV7.  Measure 7 is a repeat of Measure 3.  Measure 8 has a B min7 going to a Bb min7 leading to Measure 9, another ii7 chord instead of a V.  Measure 10 subs a V for the IV (D13b9).  Measure 11 resolves to the I Maj6, and Measure 12's turnaround is a repeat of Measure 10.  A lot of movement here, but I'm willing to bet that when you start creating your own Blues progressions, you'll borrow from this Exercise 3...  Like I do!!!!

Bonus Exercise 4:  This is a repeat of Exercise 5 from Lessons 4 and 5.  Note since these are just Group A chords only, I haven't transposed them to C, Db, or Eb.

Bonus Exercise 5:  This is my attempt at creating a Bop Blues Progression using some of my favorite progressions I've stolen from several exercises.  The great guitarist, composer, and arranger, Laurindo Almeida used to say "If you steal from one, it's plagiarism, but if you steal from more than one, it's research!"  As you can hear, I've researched this one heavily!  I've just created one in G as an example.  In Measure 4, I start with a G13b9, and for the 2nd chord, I just lift my little finger.  To give it a name, I guess we should continue with the Circle of Fourth's and call it G something like G7b5b9.  I'm absolutely sure, though, that you'll call it a C#7.  Note the "new" form in Measure 6.  It's actually an old friend, a Form 9.  But I've moved the 6th string note to the 1st string as we've talked about on other chords. 

If you're hungry for more: 

As always, if you'd like to share your creations with me, please send them to me and I'll put them on the website's appropriate lesson.

Just keep it FUN!