Month: July 2023

In this video, I start by explaining that the chord progression is a 12-bar blues. The first step I suggest is finding the pentatonic scale that corresponds to the key, in this case, C minor pentatonic. By using my ears, I try to find notes within that scale that work well with the chords, even though there are some substitutions in the progression.

I play along with a backing track using a looper, sticking to the C minor pentatonic scale. Most of the notes work well, except for a section where there is a 2-5-1 progression in minor. I suggest that in that section, it might be better to play more sparingly and focus on the root notes.

I then discuss how to analyze the chord changes in more detail. For the C7 chord, I can play a blues lick. But for the Bm7-E7-Am7 progression, which is a 2-5-1 in A minor, I can choose between playing a jazz lick or shifting to the A minor pentatonic scale.

Next, I demonstrate the importance of spelling out the chords. For the Bm7♭5, E7, and Am7 chords, I show how to play the corresponding arpeggios or find phrases that fit those chords.

Moving on to the Gm7, C7, and F7 chords, which form a 2-5-1 progression in F major, I suggest playing the pentatonic scales but adding the ninth for more flavor. I also mention the option of learning phrases that fit the isolated dominant chords, such as D7 and G7.

In the last part of the video, I emphasize the use of diminished arpeggios for the diminished chord and explain how to connect phrases to the chord shapes. Finally, I touch upon playing a blues lick on the turnaround, ending on the G note.

Overall, this video serves as a practical guide for approaching chord changes in a blues progression. By focusing on the pentatonic scale, chord arpeggios, and connecting phrases, you can enhance your improvisation and better navigate through the changes.

In this video, I discuss a page from one of my books titled “Contemporary Blues: Cause and Comping.” It’s a resource I provide to my students who are interested in learning seven chord shapes but prefer not to dive straight into jazz or complex theory. The content is applicable to blues and R&B tunes.

I emphasize the use of seventh chord shapes, including major, minor, dominant, and even diminished chords. The focus is on blues, there are no major seventh shapes incorporated. I demonstrate how to play the chords as written, but I encourage taking liberties and adding rhythmic variations to make the music more expressive.

Throughout the demonstration, I start with a C7 chord shape and progress through different chord changes, incorporating substitutions and variations. For instance, instead of strictly playing an E7 chord, I show how you can substitute it with a D half diminished chord over E.

I discuss the importance of paying attention to the melody when creating chord progressions, even during improvisation. By listening to the top melody line, I aim to create smooth and singable melodies that complement the chords. I also emphasize the significance of smoothly connecting chords and avoiding jumps that might distract from the soloist.

I cover various chord shapes and progressions, including a classic turnaround using dominant chords and secondary dominants. I demonstrate how to play different voicings and provide insights into their musical applications.

Overall, this video serves as a musical guide to help students develop their comping skills, focusing on musicality, smooth chord transitions, and supportive accompaniment. In the next video, I plan to discuss soloing over the same chord progression, offering further ideas for analysis and improvisation.