The
Jazz Guitar Society of Spokane Presents:
DAN BALMER
JAZZ/BLUES GUITAR WORKSHOP:
A
GREAT TWO HOUR WORKSHOP ON THE JAZZ-BLUES
FOR ALL LEVELS OF GUITARISTS: BEGINNING AND
BEYOND
November 11, 2006
2pm
Ella’s Supper Club
SPOKANE
CENTER STAGE
1017 W. First
phone
74.STAGE
For a reservation
or for more info contact
ntbps@qwest.net
$20 donation in
advance, $25 day of event*
*All proceeds go directly to
Dan Balmer
Check out the
workshop topics:
“Sophisticated Blues”
-
Demystifying the Jazz-Blues
- Blues Changes and Forms
-
9th and minor 9th
substitutions
- Sophisticated blues chord substitutions
-
Jazzy lines to play over the blues
- Bluesy lines to play in jazz
Jazz
blues
Jazz blues is
a
musical style that combines
jazz and
blues.
The term
also refers to any tune that follows the
standard 12-bar blues chord progression, whilst
being played in the
jazz
style, rather than the traditional
blues style. Blues music was a major
influence in the development of jazz, and such
tunes -- "jazz blueses" -- are extremely common
in the jazz repertiore. (In addition to the
chord progression, jazz players borrowed many
other stylistic devices from the blues, such as
blue notes, blues-like
phrasing of melodies, and blues
riffs.) A jazz blues will usually feature a
more sophisticated -- or at any rate a different
-- treatment of the
harmony than a traditional, "blues" blues
would, but the underlying features of the
standard 12-bar progression remain discernable.
One of the main ways the jazz musician
accomplishes this is through the use of
chord substitutions: a chord in the original
progression is replaced by one or more chords
which have the same general "sense", or
function, but which add a different color, or
add some secondary, shorter-term, harmonic
movement within the span of the existing overall
harmonic movement. An important example of this
occurs in the 9th and 10th bars, where the usual
blues progression, V --> IV, is almost always
replaced by the typical jazz cycle-of-fifths
progression ii minor --> V. The 12-bar
blues form, in Bb, often becomes
Bb7 / Eb7 / Bb7 / Bb7
Eb7 / Edim7 / Bb7 / Dm7-G7
Cm7 / F7 / Dm7-G7 / Cm7-F7
Where
each slash represents a new measure, in the jazz
blues. The significant changes include the
Edim7, which creates movement, and the
iii-VI-ii-V turnaround, a jazz staple.
From Wikipedia, the free encyclopedia