Bb Blues Comping & Improvisation
In this lesson we explore comping and improvisation over the Bb Blues. We use the blues head “Bud’s Blues” which is commonly in the key of Bb.
The demonstration starts with the head played as a single note melody and then harmonised with Barry Harris Voicings. We then apply a wide range of harmonic and melodic devices for the comping and improvisation.
Harmonic Material
In addition to basic rootless voicings, we explore a selection of more advanced comping styles and voicing configurations. These include drop 2 vocings, Barry Harry voicings, quartal voicings, upper structure triads, and chromatic 25s.
Here is a visualisation for the drop 2 voicings using a 251 in Bb Major. Notice that the 2nd highest note is “dropped” into the lower
octave lower to create a ‘drop 2’ configutation.
This same idea can be applied the the 251 in the opposite inversion and notice that the same technique is used where we drop the 2nd to top note.
These voicings can be played with or without the root. See the related lesson links and practice tips below for links to these theory studies.
Melodic Material
This demonstration includes 4 choruses of improvised solos where we apply a range of melodic devices. We start with repeated blues riffs which work well over the first 4 bars. We then explore a number of cliche blues licks and runs.
For the second chorus we introduce bebop lines and phrases and intertwine these with blues and pentatonic lines.
The final improv choruses introduce chord tone based lines and phrases and more blues licks and material.
Related Lessons Links
The following theory areas are covered in this performance:
Lesson Downloads
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Voicings & Improv Transcription File Type: pdf
Related Lessons
In this 5 minute masterclass Tuomo demonstrates 3 common blues lines that can be played over a 251 cadence in the key of F.
The secondary dominant, or 5 of 5, is one of the fundamental extensions of the basic 2-5-1 progression in jazz harmony.
For this masterclass, we will be using closed position voicings, meaning that the notes of the chord are inside a single octave.
Practice Tips
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Throughout the solo C7#9 is often played instead of the C-7, the V of the next chord F (V of V).
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The blues run in bar 70 is a useful blues lick that works well in keys of G, C, F, Bb, Eb, Ab. Transpose the lick into all of these keys.
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Intertwine blues licks, bebop vocabulary, and pentatonic soloing to create a varied improvisation section.
