| It may surprise you but, few pianists know how to | | | | music jam situation. |
| successfully execute a simple blues on the piano. | | | | So, once you’ve mastered this progression it would |
| Given the hundreds of different chord variations in a | | | | be nice to learn how to solo over top. That’s |
| 12-bar blues it’s no wonder that many don’t | | | | where things get a bit tricky. If you’re just learning, |
| know which to choose so they simply avoid the whole | | | | my advice is to learn a simple blues scale which can |
| process altogether. | | | | be played over the entire progression. |
| Here are a few simple rules to follow when learning to | | | | A blues scale is made up of only 6 notes and here it is |
| play blues on the piano. | | | | in the key of F; |
| Most music that you hear is based on chord | | | | F Ab Bb B C Eb and back to F. |
| progressions and the blues is no different. So let’s | | | | Now, the fingering for this scale from bottom to top |
| start with a basic 12-bar blues chord progression which | | | | would be 1 3 4 1 2 4 5. And, of course if you kept |
| would look like this in the key of F; | | | | going up to the next octave you would need to |
| | F7 | | | | Bb7 | | F7 | | C7 | Bb7 | F7 | | | | | | substitute 5th finger with 1. |
| Now, I’ve already mentioned that there are | | | | This scale works so well on a blues progression it can |
| hundreds of different variations of the blues so let’s | | | | become a bit monotonous. Therefore, I suggest you |
| now show you the most common jazz blues | | | | learn how to play some other types of scales during |
| progression. Overall it’s the same progression with | | | | the II V’s such as a dorian and mixolydian. |
| a few extra chords thrown in to make it sound more | | | | In terms of how to comp or play chords along with |
| interesting; | | | | other musicians here’s a neat trick. Play the root |
| | F7 | Bb7 | F7 | | Bb7 | Bo7 | F7 | A-7b5 D7b9 | G-7 | C7 | | | | and the seventh in the left hand and cover the third, |
| | F7 | G-7 C7| | | | | fifth and any extensions that you want to in the right |
| You will notice a couple of things about this | | | | hand. You will find that this is very effective in any |
| progression. First is the A-7b5 D7b9 in the 8th bar | | | | blues situation. |
| before the G minor seventh chord. This is simple a | | | | What’s next? Well, you might want to go down to |
| minor II V put in front of the G minor chord to give it | | | | your local music store and get a book on blues riffs. |
| forward movement. Then you will see another II V at | | | | There are standards riffs or rhythms that you can |
| the end which takes us back to the top of the piece, | | | | learn to make you playing sound a lot more bluesy. |
| again giving it that forward movement. | | | | I hope you enjoyed this quick blues piano lesson. Keep |
| This jazz blues progression is the most common | | | | sounding great! |
| progression you will see and will serve you well in any | | | | |