A Minor Blues, like its major brother, also has 12 bars, but there are very beautiful and surprising harmonic embellishments and substitutions, which we will demonstrate using these changes in the key of Gm:
This chord progression forms the basis for the licks and improvisations presented in this course. The blues theme "K.B." doesn't exactly follow the changes given above, but introduces variations right from the start. I'll explain exactly how the theme works and what you need to pay attention to. Then comes an essential part of the course: Jazz licks that you can use not only over Jazz Blues, but that are melodically appropriate in any situation involving minor chords. The notated solo not only succinctly conveys the ideas from the licks, but also shows you what it can sound like when you finally master Jazz Blues. To help you with the skills to accompany the Minor Blues, I'll show you some valuable variations of chord accompaniment that can help inspire soloists, because only with the right accompaniment do they feel inspired.
Level
Medium
Lessons
12 Lessons | min
Lesson 1Introduction
Duration: min
Let me introduce you to the topics covered in the course "Minor Blues".
Lesson 2K.B.-Blues (Theme) - Performance
Duration: min
K.B. are the initials of the fantastic guitarist Kenny Burrell. At the time of writing, the grand master of jazz guitar is 94 years old. His Hungarian colleague Attila Zoller dedicated a Minor Blues (Kay-Bee) to him in the 1970s, which we'll be using as a guide for this topic.
Lesson 3K.B.-Blues (Theme) - Explanation
Duration: min
A common pitfall when playing eighth note lines (as in this theme) is overemphasizing the "dotted notes," which aren't really dotted notes anyway, because swing eighth notes tend to be triplet-like. But at this tempo, even that doesn't sound good anymore; as it gets faster, the eighth notes need to be straighter. That's why "K.B." is a great exercise, both for chords and for swing eighth note lines. I'll explain it in detail in the video. Try to capture the feel of the eighth notes.
Lesson 4Jazz Licks in Gm
Duration: min
Here you'll learn 5 striking example lines in Gm that you absolutely must practice. They contain a wealth of information, and the lines show you what jazz sounds like. I based these lines on the style of the great jazz guitarist Pat Martino.
Lesson 5Jazz Licks in Cm
Duration: min
If the root note is somewhere else, different rules apply for creating beautiful eighth note lines. Learn these licks; they will show you the rules musically and intuitively, and if you analyze the lines, you'll discover why they sound so interesting. To do this, you have to calculate which interval results on the respective harmony for the notes played. It is particularly important where in the bar the surprising tension notes are played.
Lesson 6Jazz Licks in D7
Duration: min
The 7 licks in D7 are also worth intensive study. After memorizing the licks, I recommend moving them to other keys on the fretboard. This also applies to the minor licks, of course.
Lesson 7Soloing over the Minor Blues with the Pentatonic Scale
Duration: min
The pentatonic scale always sounds consonant and correct. This is soothing and can be a great starting point for improvisations. However, it doesn't sound exciting enough to use it permanently, because in jazz, well-used tension notes add spice.
Lesson 8Notated Jazz Solo over the Minor Blues
Duration: min
This solo is full of ideas: Here, you'll learn the previously explained techniques in practical application. Your contribution: Practice!
Lesson 9Minor Blues Comping
Duration: min
Here I'll show you a possible accompaniment for the Minor Blues.
Lesson 10Walking Bass
Duration: min
You can enrich your accompaniment with a walking bass. It swings!
Lesson 11Minor Blues Rhythmic Comping
Duration: min
Here, a distinctive rhythm is enhanced with chords to provide an interesting accompaniment to the blues.
Lesson 12Comping with Stretch Chords
Duration: min
This accompaniment variation is intended to be a bonus: The sounds with the close voicings can only be achieved on the guitar if you use these finger-breaking-chords. Don't worry if you can't play these stretch chords. Joe Pass once told me, "If a chord is hard to play, just don't play it." Heed the master's advice if these chords are too difficult for you.
