Drown In My Own Tears – Slow Blues Breakdown

Welcome to this lesson where we explore the harmony and stylistic elements of the slow blues tune "Drown In My Own Tears." This lesson is perfect for pianists looking to deepen their understanding of blues harmony, voicings, and improvisation techniques within the 12/8 slow blues feel.

Exploring the Slow Blues Form

The slow blues has a distinct 12/8 time signature, creating a rolling triplet feel that provides space for fills, chord substitutions, and passing movements. In this lesson, we break down the form of "Drown In My Own Tears," analyzing chord progressions and voicings used in various classic recordings of the tune.

We’ll examine both James Booker’s interpretation and a solo piano arrangement to compare different ways to approach the melody and harmony.

Chord Progressions & Voicings

1. Introduction & First Two Bars

The tune begins with a G7 (V chord) moving to C major (I chord). A sharp 5 voicing is often used on the G7 to add tension before resolving to C6 or Cmaj7.

Voicing Example for C6:

• Right hand: E-G-A-C
• Left hand: C (root) in the bass

To create movement, many pianists play a G7 to C turnaround within these first two bars.

2. The IV Chord (F7) and Chromatic Passing Chords

When moving to the IV chord (F7) in bar 3, a common technique is to use a suspended triad movement (playing a Bb triad over F7 before resolving).

Another classic passing chord is the sharp 4 diminished chord (F# diminished 7) before returning to C major.

3. Applying The 3-Chord Substitution

Instead of playing a simple I-IV-V progression, we introduce a 3-chord substitution, replacing I → III7 → VI7 → II7 → V7 for a richer harmonic movement.

For example, in the key of C:

• C major → E7 → A minor → D7 → G7 → C major

This substitution is frequently used in gospel-influenced blues ballads, adding chromatic movement and smooth voice leading.

Stylistic Techniques & Fills

1. Blues Scale & Pentatonic Embellishments

In blues piano, we switch between the major blues scale (C-D-D#-E-G-A) and the minor blues scale (C-Eb-F-F#-G-Bb) depending on the underlying harmony.

• Major blues scale works well over C major, E7, and A minor
• Minor blues scale fits best over F7 (IV chord) and G7 (V chord)

Using both scales creates a rich and expressive blues feel.

2. Suspended & Sharp 5 Voicings

Inserting sus4 triads (such as Bb triad over F7) adds a bluesy gospel sound before resolving back to dominant 7th chords.

The sharp 5 movement is another expressive device, often played as:

• C-E-G# (augmented triad) over G7
• Resolving back to C major

3. Rolling Triplet Feel & Left Hand Groove

Slow blues benefits from triplet-based rolls in the right hand and walking bass or stride-style left-hand comping. This creates a rhythmic push and pull, adding depth and groove to the performance.

Practice Tips

1. Apply The 3-Chord Substitution – Try replacing I → IV → V with I → III7 → VI7 → II7 → V7 for smoother movement.

2. Use The Blues Scales Appropriately:

• Major blues scale for the I chord
• Minor blues scale for the IV chord
• Mix both scales for variety!

3. Practice The Suspended Triad Fills – Over dominant chords, experiment with suspended triads before resolving (e.g., Bb triad over F7).

4. Work On Your 12/8 Groove – Keep a rolling triplet feel in the left hand and experiment with call-and-response phrasing in the right hand.

5. Transpose to Other Blues Keys – Once comfortable in C major, try applying these concepts to F or Bb blues progressions to expand your versatility.

Final Thoughts

This lesson introduces advanced harmonic concepts within the slow blues while staying rooted in the fundamental 12-bar blues structure. By incorporating suspended voicings, sharp 5 substitutions, and expressive blues phrasing, you’ll be able to create a rich, soulful blues sound at the piano.

Stay tuned for the next lesson, where we’ll explore more gospel-style blues applications and improvisation techniques! 🎹🔥