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As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played. [14]
"Charleston" rhythm, simple rhythm commonly used in comping. [1] Play example ⓘ. In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines.
In a jazz context, when "blues" or "solo on blues" appears at the start of a solo section, it is an abbreviation for "blues progression"; it instructs the performer to improvise solos over a 12-bar blues progression based on I, IV, and V7 chords. The term "blues" also refers to a style of soloing and playing over this type of progression.
"Mr. P.C." is a twelve-bar jazz piece in minor blues form, composed by John Coltrane in 1959. The song is named in tribute to the bass player Paul Chambers, [1] who had accompanied Coltrane for years. It first appeared on the album Giant Steps, where it was played with a fast swing feel. [2]
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
Jazz improvisation by Col Loughnan (tenor saxophone) at the Manly Jazz Festival with the Sydney Jazz Legends. Loughnan was accompanied by Steve Brien (guitar), Craig Scott (double bass, face obscured), and Ron Lemke (drums). Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz ...
At its most basic, a single version of this blues scale is commonly used over all changes (or chords) in a twelve-bar blues progression. [7] Likewise, in contemporary jazz theory, its use is commonly based upon the key rather than the individual chord. [2] Greenblatt defines two blues scales, the major and the minor.
"All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a twelve-bar blues in 6 8 ; the chord sequence is that of a basic blues and made up entirely of seventh chords , with a ♭ VI in the turnaround instead of just the usual V chord.