In the simple 12 bar blues we play all of these chords as dominant 7th chords so the three chords we will be using are F7, Bb7 and C7. The I chord is F, the IV chord is Bb and the V chord is C. If we analyse the chords numerically, this is what we get: Also notice that all of these chords are dominant chords. In the basic F Blues, the 12 bars are only made up of 3 different chords: F7, Bb7 and C7. Most jazz standards are 32 bars long and so the blues form is less that a third of the length of a typical jazz standard. It’s called the 12 bar blues because it’s only 12 bars long. You will also find blues written in other keys but these two are by far the most common. This is because the flat keys are preferred by horn instrumentalists such as the sax and trumpet players. The blues is most commonly played in the keys of F, Bb & Eb. It’s important to understand that the 12 bar blues is a cycle and it is repeated many times during a performance. In it’s most basic form, it contains just the I, the IV and the V chords of the given key. The 12 bar blues is the most common blues chord progression. The extended and altered tones add colour and texture to our dominant chord voicings. We will then explore some different ways you can voice the chords using our knowledge of rootless chord voicings and left hand voicings.Ī rootless voicing (also known as left hand voicing) is when we omit the root from the chord which frees up a finger to play chord extensions or chord alteration. We will start off right at the beginning, talking about what the 12 bar blues is, how it is constructed, and how it is played. It can be quite a rewarding process though.This is the first lesson in our study of the 12 bar blues. That can be difficult and sometimes impossible to do on the guitar, so one just has to find other ways to do it that suit the instrument. The nature of the piano / keyboard allows lots of close voiced chord inversions that move so nicely to another chord with minimal motion. Trying to closely mimic a well played piano accompaniment on guitar is often a very difficult task. In this case, the chord example tommytubetone referenced is already pretty rich and will probably serve your purposes quite well. I'm not sure how far you want to take the chord arrangement, but I find that aspect more time consuming and challenging than getting a lead or melody part down.Įven if I have a good chord chart already laid out in front of me, it can take quite a while to work out the best sounding chord inversions in a way that they move smoothly from one to another, introducing passing chords, other substitutions, introducing variety from chorus to chorus, little fills, maybe some bass line, etc. Lots of really sweet licks in there! Someday I will have to revisit this. Is this the version you are transcribing? A lot of times, I’ll place a bracket over notes and write ‘this is fast’ or cryptic squiggles at the ends of notes. When I’m transcribing I try to notate successive bends and releases, trills and give some indication of time. Then most importantly, I’m wondering how to transcribe time. Any hints on chasing down the chord progression? The recording is piano, but I hope I can find the guitar chords. But I need to pick out the chord progression to play into my looper, then go back and try to learn the 4 minute solo in time. I’ve just got the lead transcribed, first pass I know there’ll be some fixes. I know Black Magic Woman so well in my head since it came out in high school, I just know it in my head plus I can play along with the recording. Hopefully my pitch recognition will get better. I will hear a run first convinced it is- 3rd string 0 1 2 3 4 5 4 5 then after not being satisfied find that is actually 3rd string 4 2nd 5 1st string 3 5 6 7 6 7. I have transcribed it pretty much note for note. Recently I heard Peter Frampton’s Georgia on My Mind instrumental version (2019 I think). Listening to Bluesville on SXM driving I take screen shots of songs I might want learn (dangerous I know). If I screw up, I just cross it out and keep going. I write the notes down on tab lined sheets in black ink. If I slow down further like 50%, it starts getting muddy, 35% is barely usable given my hearing condition. I can usually pick out a lot a full speed but 70% works really well. I use Transcribe software to slow it down if needed. I think got it note for note (can’t play it like Carlos but sounds good to me). In January, I did Santana’s Black Magic Woman, start to finish except the keyboard parts. I started some new transcriptions this year.
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