Blues Licks Tutorial
Now let’s take our study of the blues scale further and use the notes of the minor blues scale, the major blues scale and the extended blues scale to create different types of blues licks of riffs.
We’re going to start of with simple single-note lick ideas, and then we will introduce other intervals into the licks like minor and major thirds.
We’ll talk about some other stylistic elements of blues licks such as crushed notes, keeping one note on top whilst moving the notes underneath, and finally sliding down the notes to create that fast-fingered and exciting bluesy sound.
The idea is not to prescribe you a number of licks, but rather break down the common concepts which you hear in blues solos, and this will then empower you to listen and transcribe your own blues licks and lines.
Single Note Blues Licks
For an example of how effective single note blues melody lines can be, take a listen to this section of the Bill Evans "Blues in F" record in the blues forum thread.
Bill makes it interesting by first of all, not just using the notes of the minor blues scale, he is using the extended blues scale which opens up much more melodic possibilities and interesting chromaticism. He is also including the major 3^rd^ and 6^th^ in his line.
Next he creates a motif using a turn and he repeats over all of the different chords. This is a million times more interesting than just running up and down the basic minor blues scale.
Bill’s solo is packed full of really nice ideas for improv over the blues. This is the easiest example in the transcription exercise so if you’re just starting out with transcription, start here.
Double Note Blues Licks
This is where knowing your extended blues scales is useful because it opens up much more interesting intervals, as you can see we now have all of these 3^rd^ intervals in the scale which can be used to create these kind of sounds.
If we combine this with some single note melody lines, you will be able to see how things are starting to sound more interesting.
Crushed Note Blues Licks
This is particularly effective between the minor and major 3^rd^ and gives you that old fashioned bluesy gospel kind of sound.
In the F extended blues we could also do this from the b5 to natural 5 with b7 on top. Listen to any bluesy players and you will hear them using this kind of device.
Slide Down Fragments of the Blues Scale
This is perhaps the most characteristic elements of blues licks and you will hear it in virtually any blues recording.
Lesson Downloads
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12 Bar Blues Lesson Supplement File Type: pdf -
“Straight No Chaser” – Jazz Blues Form File Type: pdf
Related Lessons
In this tutorial we create a solo arrangement for “Georgia On My Mind” applying the major blues scale with some soulful licks and riffs.
Using the tune “Georgia” – we will also explore the concept of the major blues scale and how to apply this to major 251 progressions.
In this lesson we discuss some general improvisation concepts for This Masquerade and also any other jazz standards you are working on.
Practice Tips
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There are a number of F Blues records in the forum where you can find inspiration to transcribe your own lines.
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If you want to truly absorb the phrasing, rhythm and articulation of blues licks, you need to transcribe them, just copying me will give you some insight, but it won't be ingrained in you because you haven't spent the time to listen.
- The raw concepts behind the blues style can be taught, but then it is over to you to use this information in developing your own understanding through transcription.
The concepts covered are great but for a beginner it’s not easy to follow. It would be very helpful if you broke down each lick/riff in more detail .
Hi Ronny ๐
I think that’s a great idea and I’ll certainly keep it in mind for future tutorials.
Remember that you can use the speed controls at the bottom of the video player, this will slow down the performance to .50% and also .75%.
Screenshot attached ๐
Cheers,
Hayden
https://uploads.disquscdn.com/images/1aa708499a8d3f78846c08a7502d4784c96d1f8f2ad17548dda29485bff05a84.jpg
Was looking forward to this lesson and I’ve been following so far but I’m lost on this. I started with the blues improv series because that’s what I’m hoping to learn more of for now, is there somewhere else I need to go before diving into this? The concepts are okay but I don’t understand them enough to apply them to the other keys. When you played the 12 bars, did you use the F extended scale throughout? Or you switched up when going 2-5-1 to G? Anyway I’m going to come back to this vid a few times but even at half speed, I found it difficult to grasp.
Hi Tobi,
Throughout I was using a mixture of:
1) Chord Tones
2) Approach Patterns
3) Basic Blues Scale
4) Extended Blues Scale
Don’t think of these things in isolation… they all work together. For example, you can play bits of the blues scale, and then create an approach pattern, or an enclosure into the chord tones of the upcoming chords.
Try not to just think of 1 scale over the whole progression. The chord tones are very important and that is the focus of this course.
Also check out the jazz improvisation course here: https://www.pianogroove.com/jazz-piano-lessons/how-to-improvise/ – I think you will find these lessons helpful.
Next, here’s a very important recommendation for you Tobi. If you goal is to learn to improvise freely, do not ignore this advice…
You must listen to a LOT of blues records, anytime in the day that you have the chance to listen… do it! The more you listen, the better you will become at improvising. When you improvise, you play ideas that are ‘in your head’. To get them in your head, you must listen and transcribe from records.
Here’s a couple of records to get you started:
Miles Davis – “Pfrancing” (blues in F):
Miles Davis – Freddie Freeloader (blues in Bb)
The material and concepts covered in this lesson will help you understand what you are hearing. But you must try to emulate recordings yourself. This is called “transcription” and it is an essential process to learn to improvise.
I highlight the importance of transcription in this course.
Start with Pfrancing, and play the rootless voicings underneath the recording. This will help you feel the chords and harmony moving underneath the solo.
Next try to work out some of the notes, and play along with the record.
To start with, progress will be very slow, and don’t be disheartened by that. Just keep revisiting it every day, and you will see gradual improvement. The goal is to be able to play part of the solo just like on the recording.
If I can be of further assistance just let me know.
Cheers,
Hayden
This lesson may seem a little hard to understand because it requires some Harmonic Generalization knowledge. In fact I think blues scale improvisation is to some extent a kind of harmonic generalization thought, however what we have learnt most currently is the โHarmonic Specifityโ ideas.
In brief โHarmonic Generalizationโ is to choose a chord as tonic (key center) in a chord progression, then all the chord progressionโs key is based on the tonic chord. Also choosing the blues scale depends on the โtonic chordโ, then play the scale through all the progression. For example, Fm7 tonic play F minor blues; Bbmaj7 tonic play Bb major blues; and F7 tonic can play either F minor blues, F major blues, or F extended blues. ๏ผ๏ผ
So its the same principle as chord tone soloing but in this case replacing chord notes with blues scale notes of the current chord tonic?.It can work with individual chords or its is only for pogressions?
I understand what you are saying.They can work on isolanted chords too or it only works on chord progressions?Think of chord soloing but with blues scales.Thks creepy panda
Yes you can play the blues scale over whole songs if you like. But as you highlight, you should also pay attention to chord tones, resolving into chord tones, and including the chord tones in your melodic ideas.
Cheers!
Yes they can work on isolated chords too!
The chord progressionโs length depends on your choice, e.g in a progression: Am7-D7-Gm7-C7-F7, you can think it whole as a series of 2-5 resolution to F7, thus the โtonic chordโ is F7(then superimpose the F blues) ; or break it down, the first 3 chord Am7-D7-Gm7 as a standard 251 thus play G minor blues, and the latter C7-F7 is a 5-1 resolution so play F major, minor, or extended blues scale. More, for an isolated Am7 chord you can play A minor blues.
However the chord tone improvisation is the most basic.
That’s a brilliant explanation and example Yuezhou… thanks for sharing this ๐
Cheers!
Hayden
Hi Yuezhou ๐
Yes interesting point.
You can superimpose a blues scale over different chords than the Tonic of the scale.
For example, take C minor blues…. try playing this scale over the following chords:
1) C-7
2) Ebmaj7 (relative major)
3) Abmaj7 – gives you nice maj7 and 13 sound.
4) Db7 – gives you a dominant 13#11 sound
5) F7 – gives you a dominant b9 sound
Some notes will clash, for example ‘C’ in the scale when played over Db7, and also the ‘Bb’ when played over F7, but just use these ‘clashing’ notes sparingly, or alternatively, leave them out.
Lots to experiment with…. enjoy ๐
Cheers,
Hayden
Hello Hayden..๐.So i m eager to start transcribing asap ..do you recommend start with the transcribing lessons on the intermediate level section or i m ready to go Just with what we have here?Thks
Hi Ivan,
Check out the course on transcription here: https://www.pianogroove.com/jazz-piano-lessons/how-to-transcribe-lines-solos/
I’ve just posted a new thread here with some blues recordings I would recommend transcribing from: https://www.pianogroove.com/community/t/wynton-kelly-recordings/1763 – start by listening to them over and over.
Transcription is a slow and difficult process to begin with, but also a very rewarding one.
Enjoy the journey!
Hi Hayden,
Thank you for this course. It’s been very valuable in gaining a better understanding of this progression, as well as soloing in general.
Do you have any recommendations on left-hand patterns for solo piano? I’m wondering what kind of left-hand work might sound complete without any accompaniment.
Thanks again,
Daniel
Thanks Daniel, I’m glad you liked the course.
The key is now for you to listen to LOTS of blues recordings and try to hear these ideas and concepts in practice. Then transcribe and play along with the recordings to emulate and absorb the feel. That is how we learn to improvise.
Onto your question about left hand patterns for solo piano:
For the Jazz Blues Progression, walking bass would be my main recommendation for left hand work. Check out these lessons which come with PDF downloads showing the example walking bass lines:
– Walking Bass Lines 101: https://www.pianogroove.com/jazz-piano-lessons/walking-basslines-revealed/
– Walking Bass Lines Theory: https://www.pianogroove.com/blues-piano-lessons/walking-bass-lines-for-jazz-organ/
Both of the above lessons specifcially address walking bass lines over the jazz blues form, and so they are certainly most relevant.
I also did a round up of other walking bass lines lesson here in the forum: https://www.pianogroove.com/community/t/walking-bass-line-lessons-from-4-teachers/3305 – if you are completely new to walking bass lines, it may also be nice to check out my tutorials listed in that thread.
Another thing you can do with your left hand when playing the 12 bar blues is Shuffle Patterns. However, this is less used over the jazz blues form and more for older styles of blues such as Chicago Blues & Boogie Woogie.
Check out Steve’s courses on those styles here:
Chicago Blues Course: https://www.pianogroove.com/blues-piano-lessons/chicago-blues-hand-independence/
Boogie Woogie Course: https://www.pianogroove.com/blues-piano-lessons/boogie-woogie-piano-course/
The shuffle patterns are really great for working on hand independence, which in turn will improve your left hand walking bass lines so I’d certainly recommend studying Steve’s blues/boogie courses.
But just to reiterate, for the jazz blues progression, we would most often use walking bass lines because there are more chords in the form which makes it much easier to create interesting melodic bass lines in our left hand.
The first 2 lessons I highlighted should tell you everything you need to know. Feel free to ask questions on those lesson pages if you need any more advice/direction.
Cheers and enjoy the lessons!
Hayden
I appreciate such a detailed response, Hayden!
Just to quickly follow up, I’ve recently transcribed a solo I enjoy that covers all 12 bars. Do you think it’s a good idea to transpose it in all 12 keys in order to fully absorb it, or would this be overdoing things?
Thanks again,
Daniel
Hi Daniel,
Firstly, congratulations on transcribing a 12 bar solo, that’s a real milestone and it gets easier and easier from here. Well done!
There are a few different avenues you could go down here:
Personally, I would say that it would be most productive for you to continue transcribing new material over F Blues. The more 12 bar choruses you transcribe, the closer you will be towards taking a brilliant solo over the blues in F, which is a key milestone.
If you did want to transpose the whole solo, perhaps just pick the keys that are most common for blues (Bb, C, G,) and transpose your solo through those 3 keys and then move on.
One thing I certainly would recommend is transposing any material you have transcribed over 251s around all all 12 keys. These lines and phrases will be the most useful and versatile in other situations. In F Blues, the 251 moving into the IV chord is C-7 –> F7 —> Bb7, it would be nice to transpose that melodic material around the other keys.
Similarly, you could do the same with the minor 251 in bars 8 & 9, which in F Blues is A-7b5 –> D7 –> G-7. It would be a worthwhile exercise to transpose that around all 12 keys.
Perhaps in the 12 bars you have transcribed, there is a break around those progressions, but I hope you understand the main point that I’m trying to communicate, which is that any material over 251s is the most useful and applicable to other situations and tunes.
Hope this helps and happy new year!
Cheers,
Hayden
Wonderful advice! I will definitely get to it.
Happy new year to you too!
Daniel