Minor Blues (6:49)

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来自 University of Rochester 的课程

The Blues: Understanding and Performing an American Art Form

305 个评分

University of Rochester

The Blues: Understanding and Performing an American Art Form

305 个评分

The blues is an American art form and the most important musical form in jazz. Although there are other formal paradigms of the blues, such as 8-bar or 16-bar, this course focuses on different incarnations of the 12-bar blues. There are considerable differences between Early Jazz blues, Swing blues, Bebop blues, Modal blues, and Post Bop blues. Each type has its unique harmonic syntax, melodic vocabulary and, associated with them, improvisational techniques. While other aspects of jazz performance practice have been constantly changing from one stylistic convention to another, the blues has never lost its identity and expressive power, and continues to exert a powerful influence on the harmonic and melodic syntax of jazz. This seven-week course explores important aspects of the blues, blues improvisation, basic keyboard textures, jazz harmonic and melodic syntax. Topics include: (1) Blues Progressions; (2) Blues and Other Scales; (3) Improvisational Tools, and others. This course will also cover valuable theoretical concepts enabling the student to master the art of jazz improvisation. Each topic will be introduced from a practical perspective with the clearly stated goal: to improve one’s improvisational skills. Jazz improvisation is rooted in spontaneity, creativity, self-expression and, at the same time, self-control and order. A unique pedagogical approach based on a one-to-one musical interaction conducted with different instrumentalists will help to reinforce many of the concepts introduced in this course and realize its stated objectives.

从本节课中

Blues Progressions – Theory and Practice

Lesson 1 focuses on foundational aspects of the blues, examining its history, innovation, and evolving harmonic structure. At the end of this lecture, students should have a firm understanding of the harmonic structure of the basic, generic, and minor blues forms, as well as a familiarity with the A A’ B phrase-structure of the blues.

Lesson 1 Introduction4:14

Historical Overview (12:00)11:59

Generic Blues (6:25)6:25

Basic Blues Progression8:53

Minor Blues (6:49)6:48

AA’B Phrase Structures (5:54)5:54

与讲师见面

Dariusz Terefenko
Associate Professor of Jazz Studies and Contemporary Media
Eastman School of Music

So far we've been talking about the basic blues progression which is

the Major Blues, but there's also Minor Blues.

On the screen, you can see

harmonic properties basic distribution of chords in C Minor Blues.

Just like it's major counterpart, it also has 12 bars.

It also has three, four bar phrases, and

it also has the same distribution of harmonic functions.

Let me first play the structure of the blues, so

we can hear the completely different flavor of a Minor Blues.

One, two, one, two, three, four.

[MUSIC]

As you could hear, we just went through 12 bars of the blues.

Just as in major blues, minor blues start with a minor tonic.

So C minor chord [SOUND] is your minor tonic.

It occupies the first phrase of the blues.

Measure five features motion two minors, minor subdominant.

So your F minor 7, is built on scale for

the C minor key before returning to the tonic in measure seven.

Now what happens in measures

nine should be our dominant seventh is a little bit different.

But we'll try to make sense out of these two chords.

[SOUND] For the G7, actually is postponed until measure ten.

So our dominant G7 is happens on in measure ten

before returning to the tonic in measure 11 [SOUND].

So let's first talk about this A-flat seventh chord.

Remember when we talk about early blues

I mentioned that flat sixth scale degree is one of the most characteristic

chromatic colors in the early jazz blues progressions.

So, the A-flat seventh in relation to the key of C minor

is built on flat sixth scale degree, all right?

[SOUND] And it's close proximity to the dominant [SOUND] on five.

Makes it a perfect embellishing chord

emphasising the arrival of the dominant.

Even though the dominant does not occur in measure nine, conceptually it is there.

So let me say that one more time.

Even though the dominant seventh doesn't occurred in its fixed

location in measure nine, conceptually it is there but its occurrence is delayed.

By the use of what we call upper chromatic neighbor built on scale of A flat sixth.

[SOUND] Both of these chords are have the same qualities [SOUND].

Dominant seventh going to dominant seventh going to [INAUDIBLE] [SOUND].

Just as in the major blues, in basic blues progression,

measure four, the role of measure four is to foreshadow and

anticipate arrival of the next structural harmony.

So in measure four of the minor blues you can see C7.

Can you guess what it is double function within the progression?

When you look at the next chord, F minor, [SOUND] and the C7, [SOUND].

So C7 is dominant of F minor.

[SOUND] So by using the dominant of F minor,

we are making the arrival of the subdominant more inevitable.

And at the end of the fourth measure, measure 12,

we have a nice dominant leading back to the tonic.

Well, we can make one additional adjustments to minor blues.

If you want to follow the same premise

that I have introduced while talking about the basic blues.

Instead of a single dominant occupying the entire measure,

and it's supportive role as a preparation of the next structural chord.

We can expand these dominants into local two five progressions.

So instead of C7 [SOUND] occupying a whole measure,

we can actually insert a two five one

progression which will be G, C, F,

G being the tool of local F minor seventh.

Now it gets a little bit more complicated because we are tonisizing.

We're preparing new key area, which is a minor key.

So the quality of the two chord has to be modified.

We won't be dealing with minor seventh chord but we have to deal with minor seven

flat fives in order to be consistent grammatically

correct within the minor key area.

So the sound of the two five would be like this.

[MUSIC]

Right, and similarly at the end of the form,

instead of D minor G7 we will have D minor 7 Flat 5, G7.

So the use of half diminished minor seventh two,

five, one because [SOUND] we are in the key of C minor and

the use of harmonic diminished chords to is more appropriate.

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