Blues…Blues…Blues
A study guide by MATT JENSON
www.mattjenson.com
The blues is about human suffering and hope and should be played with intensity,
in the spirit of such suffering and hope!
“Blues is roots music, always radical: the root or essence of other musics. Many music genres have
blues, including jazz, rock and R&B. Blues is pure food for fusion and many musics ground themselves
in feelings through their bluesy elements. And yet blues is still fresh – untouched. That is because blues
is a singularity rather than itself a fusion with something else. It is indivisible-recursive, the root of the
blues is the human experience and psyche itself. We owe a great debt to African Americans for
delivering this great treasure to the world in the form we have it now, but blues is not a matter of color
or form. It’s root is the human experience itself – for all times and in all cultures. Blues is a sincere gift
of the African American tradition to the world.”
- Michael Erlewhine, AMG Guide
What may appear to be an obsolete and less sophisticated/interesting style to some musicians, is an
endless realm of creative improvisation to many others. The quintessential component of the blues is
story telling steeped in emotion. The story is told with passion as the performer emotes. If the emotion is
diminished the story becomes mundane, thus the challenge of the blues is to maintain its integrity and
energy while you convey your story. The limited framework of the blues forces the improviser right to
the heart of playing with feeling and soul. Blues does not demand virtuosity or deep harmonic
knowledge, its essence is feeling. It can serve as a grounding element in more sophisticated
improvisational genres, allowing the “story” to be coherent to the listener. It can also be an excellent
study for the student improviser on their way to more harmonically sophisticated styles. The phrasing of
the “story” becomes the basis of logical well-shaped phrasing in all styles.
Some Characteristics of the BLUES
1. Repetitive rhythmic backgrounds – endless variations of the shuffle, straight eights, 12/8, rhumba,
swing, funk, swamp, etc.
2. Blues calls, field hollers, phrases – major and minor pentatonics, blues scale, mixolydian, dorian, etc.
3. Usually one key center – mixolydian environment, or dorian for minor blues. Occasional V chord
scale, occasional implied or actual secondary dominants
4. Limited harmonic vocabulary – some blues have only one chord, but most have 3 (I IV, V), and some
times add sub V and secondary dominant chords.
5. Intense stylistic integrity – purpose and expression in playing repetitive background parts (comping),
deep interaction with other instruments and vocals, maintained high energy level.
Scales used in the Blues
** fingerings shown for the key of C only. Fingerings for different keys are shown at the end of this study guide.
-‐ Practice the blues, minor & major pentatonic scales in all keys, but start with D, F, G, Bb, Eb, E and A because these are more commonly used. -‐ The mixolydian scale is used with dominant 7th chords. Practice in different keys! -‐ Practice the basic 12 bar blues in all keys, but start with D, F, G, Bb, Eb, E and A. To start use this basic blues shuffle figure (below) in the left hand. Watch the fingering!! Left Hand Comping Patterns
…one more, next page…
Some Blues Licks
There are many many blues licks. These are but a few to get you started. Once you learn them as written, experiment with playing them in many different rhythmic variations, and different keys. (Note: The names for these licks are NOT standard names used by musicians. I made them up for the use of this hand out only.) -‐ The “b3 on the IV chord” rule: Whatever lick, or scale you’re using, if it utilizes the natural third of the I chord, when you go to the IV chord, you can use the same exact lick or scale (NOT transposing it to the IV chord), but you must lower the 3rd degree a ½ step of that lick or scale. -‐ The blues “101” lick. Many other licks are derived from this elemental pattern by altering the rhythm and order. Once you’ve got it down, experiment with it. Try playing it in minor key. . -‐ The ‘drone’ lick. You repeat the top note (usually the root) while playing the blues scale under it. Again, mess around with it rhythmically and switch the order of the blues scale notes. -‐ The ‘3 voice mixo’ lick. A parallel motion voicing based on the C mixolydian scale. -‐ ‘Mixo 6ths’ lick. Starting with the root on top, play a parallel mixolydian scale in 6ths. -‐ Three cliché variations on the mixolydian 6th lick. -‐ ‘Super slick’ variation on the mixo 6th lick. -‐ The ‘Chromatic 6th chord’ lick. Root position with 1st & 2nd inversions. Great for funk comping! -‐ The ‘Guide tone chromatic approach’ lick. Find the guide tones (the 3rd and 7th degree) of each chord and approach them from a ½ step below. -‐ The ‘Super triplet’ lick. Dr. John -‐ The ‘Cascade’ lick. As originated by Professor Longhair of New Orleans fame. -‐ The ‘Country 6-‐3’ lick. Based on the major pentatonic scale, this lick can be used in practically any style of music. The target notes are the 6th and 3rd degrees of the (major) scale. Blues Turn Around Figures
(…played in the last bar or last two bars of the 12 bar blues form.)
-‐ The most basic turn around, played in the 12th (last) measure of the form. -‐ A little more complicated. Played in measures 11 and 12 (the last two bars) of the form. -‐ Even more complicated. Played in measures 11 and 12 (the last two bars) of the form. 9th / 13th Voice Leading
-‐ These are incredibly well used voicings that every piano player should know. Each form can have a thicker jazz sound by adding an inner tension. Professor Longhair, “Fess”
Call and Response Phrasing
A large part of sounding good not just in blues but in any style is about your ability to ‘speak’ to your audience, to really communicate what you are feeling. There’s no better way to do that than to use simple CALL AND RESPONSE phrasing. Here is an example using the first 4 bars of Ray Charles’ “Georgia on My Mind.” Other Common Blues Progressions
Blues Scale Fingerings
It’s critical that you can really RIP the blues scales well. For this, you gotta have good fingering. Here are suggested fingerings for the more popular keys you may find in a blues or jazz group. Even though these are listed in one octave only, make sure you practice at least 2 octaves ALWAYS. created by Matt Jenson
www.matjenson.com The “Gospel” Scale
Even though this is what many people call the “gospel” scale: But for the purposes of this hand out, I am using the scale below and calling it the “gospel” scale. – Drop 2 harmonization for an OPEN sound. – Minor gospel scale harmonized adding some 7ths for a fuller sound. (This it the lick used on the Billy Preston tune “Will it Go Round in Circles.”) – Simple IV to I gospel walk down resolution. – Cadence harmonized in 10ths. created by Matt Jenson
www.matjenson.com
The Roots of the Blues
Griots
West African Music
Work Songs
Field Hollers
1920’s
Jazz and Ragtime
Minstrel, Medicine &
Vaudville presentations
W.C Handy
Songsters
Mamie Smith
Records “Crazy Blues”
1920 - 1st Blues Record
Gospel
White Appalachian,
Folk & Country Music
Early Delta
Blues Practitioners
Jug Bands
6 Recommended Recordings
Various Artists, Blues Masters, Vol 10: Blues Roots (Rhino)
Various Artists, Afro-American Spirituals, Worksongs and Ballads: Blues Roots (Library of Congress)
Various Artists, Negro Work Songs and Calls (Library of Congress)
Various Artists, The Sounds of the South (Atlantic)
Eddie “One String” Jones, One String Blues (Gazell)
Ali Farka Toure, The Source (Hannibal)
Lester Melrose & Early Chicago Blues
Lester Melrose
Producer & Talent Scout
‘50s Blues Producers
Leonard & Phil Chess, Sam Phillips
Willie Dixon, Bihari Brothers
14 Recommended Recordings
Blues Record Co’s
Recorded & Produced
Big Bill Broonzy, Tampa Red, Jazz Gillum
Sonny Boy Williamson 1, Arthur “Big Boy” Crudup
Kansas Joe McCoy, Memphis Minnie
Bukka White, Washboard Sam
Magic Sam, West Side Soul (Delmark)
Chess Records, Sun Records,
Muddy Waters, The Best of Muddy Waters (MCA-Chess)
Post War Chicago Blues
Otis Rush, 1956-1958 (Paula)
Cobra Records, Vee-Jay Records,
Little Walter, The Best of Little Walter (MCA-Chess)
Muddy Waters, Howlin’ Wolf, Little Walter,
Modern Records
Paul Butterfield, Paul Butterfield Blues Band (Elektra)
Sonny Boy Williamson, Willie Dixon,
Jimmy Reed, Speak the Lyrics To Me Mama Reed (Vee-Jay)
Jr.
Wells, Elmore James, Walter Horton
Howlin’ Wolf, Howlin Wolf / Moanin’ in the Moonlight (MCA-Chess)
Various Artists, Chacago/The Blues/Today! Vol 1-3 (Vanguard)
Hound Dog Taylor, Hound Dog Taylor & The HouseRockers (Alligator)
Elmore James, The Best of Elmore James-The Early Years (Ace)
Various Artists, Blues Masters, Volume 2: Postwar Chacaga (Rhino)
Delta Blues
Charlie Patton
1st great star of the Delta Blues
Johnny Shines, Muddy Waters, Robert Nighthawk, John Lee Hooker,
Howlin’ Wolf, Elmore James, Mississippi Fred McDowell
10 Recommended Recordings
Various Artists, Blues Masters Vol 8: Mississippi Delta (Rhino)
Robert Johnson, The Complete Early Recordings (CPS)
Various Artists, Roost of Robert Johnson (Yazoo)
Charley Patton, Founder of the Delta Blues (Yazoo)
Tommy Johnson, Complete Recorded Works (Document)
Bukka White, The Complete Bukka White (Columbia)
Sun House, Willie Brown, Tommy Johnson,
Tommy McClennan, Ishmon Bracey, Robert Johnson,
Skip James, Bukka White, Missippi John Hurt
Muddy Waters, The Complete Plantaion Recordings
Son House, Delta Blues: The Original Library of Congress Sessions from Field Recordings 1941-42
Mississippi Fred McDowell, Mississippi Delta Blues
Memphis Blues
W. C. Handy wrote “Memphis Blues” in 1912
Jug Bands
Furry Lewis, Frank Stokes, Gus Cannon,
Robert Wilkins, Memphis Willie Borum,
Noah Lewis, Will Shade, Joe McCoy,
Memphis Minnie, Jack Kelly, Walter Horton
Memphis: Late 40’s early 50’s
Joe Hill Louis, B.B. King, Rufus Thomas, Walter Horton,
Hot Shot Love, Jimmy De Berry, Howlin’ Wolf,
Bobby Blue Bland, Junior Parker, Pat Hare, Johnny Ace,
Willie Johnson, Sammy Lewis, Little Milton
Classic Women Blues Singers
Ida Cox, Sippie Wallace, Victoria Spivey, Lucille Bogan,
Alberta HunterEthel Waters, Dinah Washington, Billie Holiday
The Queens Bessie Smith & Ma Rainey
Bonnie Raitt, Tracey Nelson, Janis Joplin
10 Recommended Recordings
Bessie Smith, The Collection (CBS)
Ma Rainey, Ma Rainey (Milsetone)
Slippie Wallace, 1923-29 (Alligator)
Victoria Spivey, 1926-31 (Document)
Lucille Bogan, 1023-35 (Story of Blues)
Sun Rockabilly
Memphis R&B 1954-1968
Stax Records, Elvis Presley, Carl Perkins,
Jerry Lee Lewis, Albert King,
Memphis Soul Scene
Booker T & the MGs, Willie Mitchell,
Bill Black Combo
Mamie Smith, In Chronological Order, Vol. 1 (Document)
Alberta Hunter, Young Alberta Hunter (Vintage Jazz)
Ethel Waters, Jazzin’ Babies’ Blues, 1921-27 (Biograph)
Barious Artists, Women’s Railroad Blues: Sorry But I Can’t
Take You (Rosetta)
Various Artists, Blues Masters Vol. II: Classic Blues
Women (Rhino)
Lousiana Blues
New Orleans Jazz Scene
Country
Robert Pete Williams
Snooks Eaglin
1900 to late 1940s
Zydeco
Clifton Chenier, BooZoo Chavis
14 Recommended Recordings
Various Artists, Bloodstains on the Wall: Country Blues From Specialty (Specialty)
Robert Pete Williams, Those Prison Blues (Arhoolie)
Guitar Slim, Sufferin’ Mind (Specialty)
Professor Longhair, Fess: Professor Longahair Anthology (Rhino)
Slim Harpo, Hip Shakin’: The Excello Collection (Rhino)
Snooks Eaglin, The Complete Imperial Recordings (Capitol)
Lightnin’ Slim, Rooser Blues (Excello)
Lazy Lester, I hear You Knockin’ (Excello)
Lonseome Sundown, I’m a Jojo Man (Excello)
New Orleans Guit. & Piano
Guitar Slim, Smiley Lewis, Professor Longhair,
James Booker, Earl King
Excello Swamp Blues
Lightnin’ Slim, Slim Harpo, Lazy Lester, Silas Hogan,
Jimmy Anderson, Lonesome Sundown, Katie Webster
Silas Hogan, Trouble (Excello)
Katie Webster, Katie Webster (Paula)
Clifton Chenier, Zydeco Dynamite: The Clifton Chenier Anthology (Rhino)
Various Artists, Alligaror Stomp Vol 1-2 (Rhino)
Various Artists, Crescent City Soul: The Sound of New Orleans 1947-1974 (EMI)
West Coast Blues
T-Bone Walker moves to California, popularized jazz style that becomes the West Coast Sound.
Roy Milton, Percy Mayfield,
Nat “King” Cole, Johnny Otis,
Ray Charles, Roy Brown,
Big Jay McNeely, Joe Houston, Jimmy Liggins
Pee Wee Crayton, Charles Brown,
Lowell Fulson, Amos Milburn,
Johnny Guitar Watson,
Jimmy McCracklin
15 Recommended Recordings
T-Bone Walker, The Complete Capitol/Black & White Recordings (Capitol)
T-Bone Walker, The Complete Imperial Recordings (EMI)
Pee Wee Walker, Rocking Down on Central Avenue (Ace)
Amos Milburn, Down the Road Apiece: The Best of Amos Milburn (EMI)
Floyd Dixon, Marshall Texas Is My Home (Specialty)
Roy Milton, Roy Milton and His Solid Senders (Specialty)
Percy Mayfield, Poet of the Blues (Specialty)
Suggie Otis, William Clarke,
Johnny Heartsman, Canned Heat,
Rod Plazza, Joe Louis Walker,
Ted Hawkins
Charles Brown, Driftin’ Blues: The Best of Charles Brown (EMI)
Johnny “Guitar” Watson, Three Hours Past Midnight (Flair)
Lowell Fulson, San Francisco Blues (Black Lion)
Johnny Otis, The Johnny Otis Show (Savoy)
Jimmy McCracklin, Everybody Rock: Let’s Do It! The Best of Jimmy McCracklin (Domino)
Johnny Heartsman, The Touch (Alligarot)
Ted Hawkins, Happy Hour (Rounder)
Texas Electric Blues
T-Bone Walker - first Texas Bluesman to play amplified “Stormy Monday”.
Blind Lemon Jefferson - first Texas Blues guitarist. Lightnin’ Hopkins plays both electric and acoustic guitar.
Pee Wee Crayton, Amos Milburn,
Gatemouth Brown, Clarence Garlow
10 Recommended Recordings
Johnny Copeland, Albert Collins,
Freddie King, Hop WIlson
Various Artists, Blues Masters Series, Vol 3: Texas Blues (Rhino)
Various Artists, Texas Music, Vol 1: Postwar Blues Combos (Rhino)
Johnny Winter, Jimmie Vaughn
Stevie Ray Vaughn, Billy Gibbons
T-Bone Walker, The Complete Black & White Recordings (Capitol)
Bobby “Blue” Bland, I Pitty the Fool (MCA)
Piano Blues Stylists by Region
St. Louis
Lee Green, Roosevelt Sykes,
Peetie Wheatstraw, Henry Townsend,
Walter Roland, Walter Davis
Chicago
Willie Mabon, Otis Spann, Detroit Jr.
Henry Gray, Eddie Boyd, Art Hodes
16 Recommended Recordings
Texas
Alex Moore, Dr. Hepcat,
Rob Cooper, Dave Alexander, Sammy Price
New Orleans
Cousin Joe, Archibald, Smiley Lewis,
Jack Dupree, Prof. Longhair, Fats Domino
Indianapolis - Leroy Carr
California
Charles Brown, Amos Milburn, Percy Mayfield
Kansas City
Jay McShann, Count Basie, Pete Johnson
Memphis & the Delta
Little Brother Montgomery, Sunnyland Slim,
Booker T. Laury, Memphis Slim, Jab Jones,
Piano Red, Mose Vinson
Cecil Gant, Rock the Boogie (Krazy Kat)
Cow Cow Davenport, Alambma Strut (Magpie)
Memphis Slim, Rockin’ the Blues (Charly)
Roosevelt Sykes, Roosavelt Sykes (1924-41) (Story of Blues)
Sunnyland Slim, Sunnyland Slim (Fliright)
Leroy Carr, Naptown Blues (Yazoo)
Other Major Players
Otis Spann, Otis Spann is the Blues (Candid)
Albert Ammons, King of Boogie-Woogie (1939-49) (Blues Classics) Camille Howard, Vol 1: Rock Me Daddy (Specialty)
Speckled Red, Ray Charles
Meade Lux Lewis, Complete Blue Note Recordings (Mosaic)
Jimmy Yancey, Vol1 (1939-40) (Document)
Professor Longhair, Fess: Professor Longhair Anthology (Rhino)
Big Maceo, King of Chicago Blues Piano, Vol 1&2 (Arhoolie)
James Booker, New Orleans Pianno Wizard: Live! (Rounder)
Amos Milburn, Down the Road Apiece: The Best of Amos Milburn (EMI)
Floyd Dixon, Marshall Texas is My Home (Specialty)