Reharmonising The Blues
In this lesson we devote some attention to harmony. When studying New Orleans music it’s easy to concentrate on the rhythmic aspects. However, the way we structure our chord progressions and harmonies is also very important.
The I – IV – V Harmonic Structure
If we look at harmonic structure in its most basic sense we have the I also known as the tonic. The IV also known as the subdominant, and the V also as the dominant.
In the key of C Major, C would be the tonic, F would be the subdominant, and G would be the dominant. These 3 chords are the constituent elements of a Blues or Rhythm N Blues tune.
Passing Chords & Reharmonisations
We start by exploring simple passing chords and formulas to move between the I, IV, and V chords. The are a virtually infinite amount of passing chord variations and reharmonisations that can be applied to a simple blues tune.
We start with some simple examples and we gradually apply more complex and sophisticated substitutions.
8 Bar Blues & 12 Bar Blues
In the key of C, we take the basic form of the 8 bar blues and the 12 bar blues. We explore the different ways that can embellish the chord changes with passing chords and sometimes reharmonise multiple measures to achieve more sophisticated harmonies and chord changes.
Lesson Downloads
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Blues Reharms & Passing Chords File Type: pdf -
Reharmonising The Blues File Type: pdf
Related Lessons
You will immediately notice that this tune does not follow the standard 12 bar blues form that we have covered earlier in this course.
In this lesson we will be exploring the common intros, endings, and turnarounds that are found in the Chicago blues piano style.
In this course we’re going to focus around a post-war Chicago Blues style that applies to many other styles of blues and improvised music.
Practice Tips
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As a piano player, it's important how we structure our harmonies and chord progressions.
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The transition from the I chord to the IV chord is a perfect opportunity to embellish the basic changes in the blues.
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Study Jon's examples of passing chords between the I and the IV and apply this to the blues in multiple keys.
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All examples in this lesson are played in the key of C. Remember that these passing chords and substitutions can be applied to the blues in any key.
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Start in a small range of the piano and then expand the principles across the whole range of the keyboard.
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Take these ideas as initial inspiration. Listen to lots of recordings and transcribe the passing chords and reharms that you like.
So beautiful!!
Hayden you mentioned you thought I’d enjoy this part and oh my gosh do I ever!
I want to shout from the mountaintops about this course – how thoroughly you and Jon are giving away the secrets, the magic to all of us – re-igniting my love of learning piano, of taking piano lessons.
I am weeping with how beautiful the music is, and these lessons are, and how accessible you have made this information – both to imagine giving it so generously in the first place and also to team up with Jon Cleary who clearly just loves to teach and is so open-hearted. What a giver!
There’s something he played in his Facebook Lean on Me for beginners lessons,
C C7/E F *B7/F#* C/G G7 C that is so uplifting.
I’ve taken every opportunity I can to go
C C7/E F *F#dim* C/G G7 C
But I have never played it with the *B7/F#* in place of the *F#dim* chord and what a sound that is!
It reminds me of Oscar Peterson’s Hymn to Freedom. It’s incredibly uplifting.
And everything he says about the music of New Orleans – that it’s about dancing, that it’s more about celebrating than about grieving, that it deeply acknowledges the grief but celebrates through it.
I mean these are so much the things I LOVE about that city and that feel, and that have healed me when I’ve gone, and have healed others I’ve met who’ve gone there too.
You know when you’re there that people really know grief, and they see you, and they celebrate life now, in each moment, with you.
It’s just such an incredible gift to hear this from him, in this way. You have captured something so magical, so special. And you’re letting us all in on it! Thank you.
Back to that beautiful B7/F#..
Jon might go on to talk about that here, and if not I’ll try to ask over Facebook and see, but basically I just love that sound and want to know more!
At any rate, rather than continuing to transcribe as I go, I’m going to watch the whole course as an overview and then go back and learn it in more detail.
YES! Thank you!
Hi Megan 👋🏻
Very happy to hear your comments. Our goal at PianoGroove is to demystify these different styles and genres and I’m very happy with how this course has turned out.
As you say Jon is a wonderfully passionate teacher which of course is the foundation for all of this.
Totally agree with your point about the culture and people of New Orleans. Music is used as a means of celebration even in times of grief and mourning. It’s wonderful how Jon shares these insights with us throughout the course. Ultimately, this is a big factor in how the musical style of New Orleans has developed into what it is.
And yes next time I chat with Jon I will ask him if he’d be interested in answering and responding to student questions now and again. I know he’s very busy with his livestreams but perhaps we can work something out.
Cheers!
Hayden
Here’s a song in progress about what I’m talking about up there in terms of the feeling of New Orleans, and some passing chords I’m trying out too…
Thanks!
Love your lyrics and accompaniment Megan. You are a very talented player and singer.
Having recently lived in New Orleans for 3 months, I think you capture the soul of the city and the musical vibe perfectly. Really nice job.
It sounds like a finished song to me, but if this is still a work in progress I can’t wait to hear the finished product!
Cheers,
Hayden
Hi Hayden,
Thanks so much for your ongoing encouragement and support!
I’m so happy to be learning this material in such detail, and with such flexibility.
Thank you so much for listening to the songs – I edit a lot through the process of recording, listening back, over and over – this one was about twice as long but I think it’s saying everything I need to say here!
Thanks – I appreciate your feedback.
I’m really happy too to have this context to place my songs as we go. It’s a nice easy place to flesh them out (or in, as in this tune) a bit, and just so fantastic that they’re at home in the context of the feel of New Orleans.
Thank you!