 |
Vision Music
Community Forum
|
| View previous topic :: View next topic |
| Author |
Message |
slimm70
Joined: 29 Apr 2007
Posts: 2
|
 Posted: Sat May 03, 2008 3:21 pm Post subject: Blues with a Bridge |
 |
|
| Mark, Can you talk a bit about how to structure a "blues with a bridge"? Is it different than a C Jam Blues type progression with a II-V-I within the 12 bar structure? |
|
| Back to top |
|
 |
Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
|
| Posted: Sat May 03, 2008 4:31 pm Post subject: Re: Blues with a Bridge |
|
|
| slimm70 wrote: | | Mark, Can you talk a bit about how to structure a "blues with a bridge"? Is it different than a C Jam Blues type progression with a II-V-I within the 12 bar structure? |
Dave, right? Nice seeing you here, my friend. Thanks for particpating in our forum.
There are a number of ways to structure a blues with a bridge, although generally speaking a 12-bar blues is its own entity and therefore it's not a common occurence. One of the most notable examples in the jazz genre would be "Unit Seven" (Sam Jones), known to many guitar fans from the version that Wes recorded on his epic "Smokin' At the Half Note" (Verve) release in the sixties.
First of all, you're looking at an 8-bar bridge that would occur after playing 24 bars of blues. Typically following the bridge would be one more 12-bar chorus of blues. So an AABA structure and 44 bars overall.
Harmonic formulas can vary quite a bit. In the case of the tune above it's 4 beats apiece of Dm7, G7, Em7, A7, Dm7, G7, Cmaj7, and G7. Plus it's done in a latin feel, adding a unique rhythmic twist to a swing tune.
You could also borrow from the Rhythm Changes bridge, either by cycling dominants (at two bar intervals) beginning with the III7 chord. So in C you'd have E7, A7, D7, G7. Optionally choose 9ths and 13ths for a less traditional effect. Within that formula you could split each two bars and add a minor 7th chord (e.g. Bm7 to E7, Em7 to A7, etc) for a more melodic approach.
Another derivative is starting the 8-bars on the Vm7 of the key, similar to the bridge from Satin Doll. So a bar of Gm7, another of C7, and two bars of Fmaj7. You could then fill the remaining bars with Am7, D7(9), Dm7(9), and G7(13), all stemming from the back end of the Rhythm Bridge.
Well, I hope this helps "bridge the blues gap" for you.  Oh, btw... just make sure that you don't use a standard turnaround at bars 23/24 of the blues, because you want a stationary I (C) chord as a "stepping off" point before you hit the bridge. All for now...
- Mark
_________________
"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
|
| Back to top |
|
|
nylenny
Joined: 31 Mar 2007
Posts: 291
|
| Posted: Sun May 11, 2008 4:05 pm Post subject: |
|
|
| Dave, You may also want to check out "Move," which also is an AABA, with an 8-bar A-section and an 8-bar "bridge". The tune usually is played in Bb, with a B-section that goes f-7 Bb7, Ebmaj7, Ebmaj7, g-7, C7, c-7, F7. The A-section is a jazz blues that is missing measures 4-7. It is written by Denzil Best. Very cool tune. |
|
| Back to top |
|
|
Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
|
| Posted: Sun May 11, 2008 5:27 pm Post subject: Re: Move (aka "Good To Go") |
|
|
| nylenny wrote: | | Dave, You may also want to check out "Move," which also is an AABA, with an 8-bar A-section and an 8-bar "bridge". The tune usually is played in Bb, with a B-section that goes f-7 Bb7, Ebmaj7, Ebmaj7, g-7, C7, c-7, F7. The A-section is a jazz blues that is missing measures 4-7. It is written by Denzil Best. Very cool tune. |
Len,
Good point. Yes, the Move bridge is precisely what I was referring to in my post by combining the front end of the Satin Doll bridge with the back end of the Rhythm Changes bridge.
Btw and speaking of Move (one of my favorite tunes), has anyone heard my Good To Go tribute to Swedish guitarist Andreas Oberg? It appeared in the February edition of Just Jazz Guitar this year, accompanying my cover story interview with Oberg. It's an uptempo original bebop head that I composed, based directly on the changes from Move. Needless to say, Andreas loved the tune and I like to feel that it's an excellent example of modeling as a means to and end, a la Bird and his many bebop tunes that were in fact his favorite solos over known progressions.
I also have GTG in an eBook and have been considering publishing it as FREE download for forum members only, announcing it in a broadcast email to thousands of site fans. In other words, anyone can have it BUT they have to register to access the download. Thoughts?
I have several promotions, including additional originals, lessons, chord-melody guitar arrangements, etc, in the works to help build the forum member base and expand our discussions. All for now...
- Mark
_________________
"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
|
| Back to top |
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
Powered by phpBB © 2001, 2005 phpBB Group
|
FAQ
Search
Memberlist
Usergroups
Register
Profile
Log in to check your private messages
Log in
