Memorize these phrases to jump-start your chord tone vocabulary. The same chord tones are every where on the neck; when you can comfortably see and hear the half-step connections in this position, you can extend the same idea to other positions by following the same procedure, but always balance every new melodic idea with equal parts timing and touch to keep the phrases convincing and not too "technical." Play over the changes again and again until you can consistently hear and feel the next chord coming before it gets there-that's the definition of harmonic awareness. Next, we'll apply the same approach-targeting 3rds and 7ths-to the 17-V7 change. Again , play the chord voicings in fifth position (see the diagrams provided) and compare shapes: • The major 3rd of A7 (C�) is a half step below the 7th of E7 (D). • The 7th of A7 (G) is a half step below the major 3rd of E7 (G�); the root (A) is a half step above the same note. Fig. 9: 3rds and 7ths: 17-V7 Performance Notes
1. Bars 1-4: This phrase reminiscent of the Louis Jordan/B.B. King classic "Caldonia" empha sizes C# (the major 3rd of A7); on E7, the melody shifts up a half step to the 7th of E7 (D) and goes on to outline the E7 chord shape. The final G gives a blue-note twist to the major 3rd of E (G#) before resolving to A at the beginning of the next bar. 2. Bars 5-8: The A7 phrase emphasizes G (the 7th of A7), which slides up a half step to G# (the major 3rd) of E; the final blue-note G again sets up the return to A.
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12-Bar Chord-Tone Phrasing The next example assembles the 17-IV7 and 17-V7 changes into a 12-bar progression. The melody arranges the half-step shifts between 3rds and 7ths in a 12-bar call-and-response structure similar to blues classics like "T-Bone Shuffle" and "Caldonia." The sparse melodic phrasing leaves the "answers" open for the rhythm section to fill, like the classic horn-section arrangements of 1940s and 1950s blues. =ig. 10: "Three-Seven Blues"
Performance Notes 1. Bars 1-4: The main theme centers around the major 3rd of 17 (C#). 2. Bars 5-6: C# drops to C natural, the minor 7th of 07 (IV7), while the rest of phrase remains the same. 3. Bars 9-10: E7 is reflected with just one note, the 7th (D), followed by a variation on the main theme that includes the 3rd of 07 (F~). 4. Bars 11-12: This standard turnaround phrase concludes with the root of V7.
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The next example is a 12-bar solo roughly based around the melody of "St. Louis Blues" that integrates chord tones and color tones (the 6th and 9th) as well as filled-in responses for more continuous flow. Greater harmonic awareness helps give the phrasing some of the natural melodic qualities of a vocal line, and in fact one of the best ways to develop and expand your use of chord tones is to imitate and analyze vocal melodies. Fig. 11: "St. Louis Blues" Chord-Tone Solo Performance Notes
1. Bars 1-2: The first "call" quotes the vocal melody of "St. Louis Blues" with a few embellish ments. On the quick change in bar 2, the melody emphasizes the 3rd (F�) and 7th (C) of 07, while the shift to Pattern #3 provides easier fingering. 2. Bars 3 -4: The response is based around the A? chord structure, filling in the melodic line with the 6th and then moving in half steps down to C (the 7th of 07). 3. Bars 5-6: The melody echoes "St. Louis Blues" again, emphasizing the 3rd and 7th of 07 as the fingering shifts again to Pattern #3. 4. Bars 7-8: The second response is a variation of the first. 5. Bars 9-10: The high point of a 12-bar blues solo usually comes over the V7 change-here, the melody emphasizes B and Gt (the 5th and major 3rd, respectively, of E7) and outlines the O before returning to A. 6. Bars 11-12: This is a standard turnaround phrase based on chord tones; the added IV? in the turnaround is a common variation in melodic blues.
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Chapter 11 ne next figure demonstrates how to play the changes with phrases that incorporate each of these :�romatic tones in bar 6 of the 12-bar progression (bars 5-8 are shown). The first example adds o# (the r=.::xx of :IV 07), and the second adds F natural (the �3rd of 1Vmi7) to otherwise typical blues phrases: 2: Blues Phrases with Chromatic Tones
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The chord-tone approach is standard in jazz-oriented blues, but mainstream blues and blues-rock g..1rtarists who play over chromatic changes almost invariably take the second, key-center approach. The 'ollowing example shows a key-center phrase that fits over either chromatic chord; the melody doesn't .,elude any chromatic tones, but the C in bar 6 is common to both passing chords as well as the key center (on the audio demonstration you can hear the same phrase played over both sets of changes). 3: Key-Center Phrase over Chromatic Changes
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The best way to develop your ear for chromatic changes is through repetition. Loop the changes and play over them until they become familiar, identify which notes work best, and smoothly integrate the phrases into your normal style. Like color tones and chord tones, the more you listen to and play chro matic changes and melodies, the sooner they work their way into the sound of the key center and become part of your vocabulary. 145
