Lesson 37
Notes to Lesson 37
Charlie Byrd said that "The Blues are the mother-lode of music." I think that it would be difficult to argue against that statement. Certainly, from a music educator's point of view, especially when the music educator is Mickey Baker, Charlie receives no arguments over that. In our studies of the Blues, we learned that the Blues is a versatile form that can be very simple harmonically with Tonic (I), Sub-Dominant (IV), and Dominant (V). From there we can substitute to our hearts' content. In fact, some of the progressive jazz blues from the 1950's are so substituted that we really have to listen analytically just to recognize the genre. Even if the Blues weren't such an important part of Jazz and popular music, it makes a great learning vehicle due to the general structure.
Lesson 37 is the last lesson in this course specifically about the Blues, this time Mickey's chosen a "Bounce Blues". Mickey gives a formal introduction to "Riff Runs". In Lesson 31, the first on Blues solos, Blues #3 had a riff as the turn around, but Mickey acknowledged it by saying that he'd rather discuss riffs in a future lesson. A riff is a musical phrase that can be played against any chords in a tune. Some folks also refer to riffs as licks, although "licks" can have other meanings. Mickey further defines a riff as something we play when we don't have the time to put in one of our chord runs.
Lesson 37 is another lesson that is just so much fun, you don't realize it's work! I found myself wanting to do more and was disappointed when the lesson was over. Although it's four full choruses, Mickey takes us by the hand, giving out measures one or two at a time to help us get our musical feet wet. Also, Mickey just asks us to transpose this lesson to F, Ab, Bb, and C. Continuing with my practice of sharing what I did, I've also transposed my efforts to those keys. The Prime TEF has not only my work in a module called "Mike's Lead", but a separate module that you can easily add yours ("Your Lead").
I continued using a slightly modified Bop Blues progression from Lesson 21 as the rhythm. To illustrate how dependent a tune is on the rhythm section, I've done five Bonus TEF's where I've used an original Blues progression with the "Chunk" rhythm we've used throughout the course. Compare one of the original TEF's with the Bonus in the same key. Although the solo is identical, it takes on a whole new flavor, like a totally different tune, wouldn't you say?
Let's discuss the Bounce Blues:
Measure 8: Note that the 5th note in the G# dim run is a G#. I've carefully inserted a sharp sign there. In this instance the G# dim is acting as a G7b9 chord going to a ii chord in Measure 9.
Measure 13 is the first measure we are to add our original thoughts as a G Major run.
Measure 15 wants another G Major run.
Measure 20 asks for a G# dim7 run, like we discussed in Measure 8.
Measure 28 also needs a G# dim7 run. After this lesson, we'll all be comfortable with dim7 runs, won't we?
Measure 29 and 30 asks for a C7 and a C9. We could think of Measures 28, 29, and 30 as a three measure insert, but since the harmony is I7 - IV7(9), I prefer to think of it as two phrases. Please use whatever works for you.
Measures 37 through 40 asks for a 4-bar Blues idea. As I started this lesson with a quote from Charlie Byrd about the Blues, it's only fair, and perhaps anticipated, that I've inserted a Blues riff from the unamplified Blues of Charlie's Spanish Guitar. It's a great riff that I'll also add as a Bonus Riff in Lesson 38.The harmony here is all tonic (I), so Charlie's Riff in G works great. You'll be able to use this riff as a foundation for creating your own.
Measures 45 through 48 are divided into three separate ideas, ii7 - V7#9 - I (as a 2-measure turnaround).
Asking folks to come up with their original ideas is very stressful and I won't add to the work load. Remember that the more examples we have, the more individual ideas we are able to generate, so please share your work with all of us by sending it in.
Just keep it FUN!