Hey guys, Willie Myette creative jazz edge I got something special to show you today in today's podcast episode check this out.
Alright, so today we are going to be talking about how to add try tones to your blues progression. Alright, so let's get started with this. First of all, if we take a look at our simple blues progression, we have the following chords
we're in the key of C. And by the way, I'm using a real pro here for the backing track this file if you would like this, just go ahead, back to jazz edge comm slash Triton, or follow the car that just popped up in the top right corner of this video. Alright, so our basic blues progression is C seven, f seven, then C seven g seven, f seven c seven. This is our one chord, our four chord, back to our one chord Five, four and one. If you're interested in diving in more to the blues, you want to know more about the blues, check out my summer piano jam program and that can be found at summer piano jam.com. Alright, so anyway, we have our different blues. And then if you have followed the last three podcast episodes, we've been talking about try tones and try tones really are like kind of like the lifeblood of jazz piano
. We utilize them all of the time. Why do we utilize them? Well, in the other podcast episodes, I've kind of explained why the basically one of the main reasons we use them is it allows us to add some more fluidity and direction in our planning, right, we're able to kind of change up the arrangement so that we're not just sticking on a same static chord all of the time. Alright, so how do we do this? Well, if you remember correctly, what we did is we were finding all of the dominant chords
right? And then we were one of the options was to precede the dominant chord with a tritone
substitution, or basically go up a half step. Now in the blues, it's pretty simple because they're all dominant chords
, right? So every one of these chords
is a dominant chord, C seven, f seven, g seven. All right, all dominant chords
. So now what we want to do is, before we get to the next chord, we want to pre seed it, right? So like, this would be at the end of the fourth measure, we want to proceed that F seven chord, we also want to proceed that C seven chord, we also want to proceed the g7, the F seven, the C seven, and it also preceded that C seven, that goes back to the beginning, right? So all we do is we look to the target. So this is the core we're trying to find right? I'll put a big question mark right there. We're trying to find what is this court? Well, we don't know that chord until we move forward. So if we scan forward, we can see here I'll put my little glasses here, I say sometimes you find that on charts, that says okay, f7, we're going to look ahead to f7. So then all we need to do is go up a half step from F seven. So this chord right here is going to be G flat and veggie not going to do I'll write this in the orange so you can see it. So it's going to be G flat seven, right, that's going to go to the f7 to the C seven, we would do eight D flat seven chord, and then getting back to the g7 we would go and play in a flat seven chord right, and then going back to the F that's again, another G flat and then getting back to the C, that's a D flat and then finally this one right over here is another D flat before we go all the way back to the beginning of the piece. Okay, now I've written this all out in sheet music form for you. Alright, so you can see it all right here. Now what we're starting to do, first of all, is just shells, just do the shells in the left hand just so that you can get down to form so you can get down the comping rhythm. And so you can also fully understand the tritone
in the next podcast episode, that's gonna be Episode 48. I'm going to show you how to play these big two handed chords
, right? So be sure to check out Episode 48. And the title of that is huge chord, blues, piano tritone
substitutions. Alright, so first of all, let's just start with this very simple c seven, just a root seven chord shell. And the rhythm that we're doing is one into n or
da, da, da, ba. So a
lot of times rather than counting out we could say one and two, and this would be and, but it's not a very jazzy way. of expressing rhythm, one into n, one into n doesn't feel very jazzy right. So instead what we do is we say, da, okay, I'm trying to write this out for you, da, and then this goes to ba. So we vocalize this, if you need help with these vocalizations, I have a whole course back on jazz edge.com, called rhythm essentials, and an that goes through all the vocalizations if you don't know it, so anyway, the rhythm is simply
da, da, da, da, da, da.
So the first thing to do is I suggest just going and playing with the ireo protrack. To just clap that da, da, da, da, da, ba, da, ba, da, ba, da, ba, da, ba. Alright, so just go through and just clap that rhythm all the way throughout. Now, once you could do that, then we can start to apply these shells, the shells, we've talked about shells before, and you can check out my jazz piano
daily lessons, and my YouTube channel and I go through shells as well. But basically, all we're doing is we're just playing the root and the seventh of the chord. So C, B flat, and then C, D flat. And then when we go to the G flat seven, it's G flat, and F flat to be technically correct, or G flat, and E, you also notice that the chord is written in here, I'm beat four, even though it anticipates, why do we do that? Well, that's kind of typical. In jazz, you're not going to write the chord, you're not going to put the chord on the end of three, because it's a little bit more difficult to read. So instead, we'll usually put it on beat four, and then you'll see the anticipation, you know, to anticipate it, or if you see the G flat seven, you just kind of automatically start to know, hey, you know, when I pitch, I can anticipate that, alright, so a lot of times the chordal will show up on the beat versus the anticipation. Some players might write it differently. But this is the way that I've seen it written for years. So anyway, G flat seven, and down to the F seven, which is F and E flat for the route seven chord show. And then and then B flat seven, D flat, and C flat, D flat, and B, right, and then back to C seven, then a flat seven, which is a flat and G make sure you're also grabbing in at those shells and slamming down on Rab in the shells, you'll have more control and you'll get a better tone and sound out of your instrument, g seven, G flat seven, then back to F seven, then D flat seven, then back to G's back to C seven rather, C seven, and then the D flat seven. Because while we're going right back up to C seven. So what I'm gonna do is I'm going to make this music small here. So you can just kind of see, and we'll go through the entire thing. Okay, but like I said, if you want the sheet music, just go ahead back to jazz edge. COMM slash try tone, just go right back there. And then you can download all of this sheet music free of charge. Alright, so let's go ahead through and then let's play this along with the ireo Pro track. Right now I have it on 140. I'm going to bring this down to 110. We're going to play a little bit a little bit slower. And here we go. So see seven. Now, question you might have is alright, so wait a second way I see that the bass player in the band are playing the chord C seven, f seven, you know, g seven and so on, right? They're not doing any of these anticipations. And they're not doing any of these tritone
substitutions. So Will that work? If the bass player is still playing a C seven chord when I then in turn, move to this G flat seven. Yes, it's going to work. Why that's because of tension. And release. tension. And release again is super important in jazz as well as many other styles of music. But especially important in jazz, that tension that's created then gets resolved. Now if I were to play G flat seven while the band is playing c seven by just keep playing that right? You can hear that oh that doesn't sound very good, right? However when I play it, let's say I even go to D flat see I can do that then G flat that tension is created is okay. Alright, so the first thing that you want to get down for this week is understand that concept of preceding each of those dominant chords
with its tritone
substitution. Remember, the G flat seven chord is the same thing as what is the same thing as a C seven chord. Remember,
we've talked about that how c seven, G flat seven, kind of share the same guide tones, they're right, the third and the seventh of C seven, become the seventh and third of G flat. That's yet another reason why when the bass player is playing C, even though you're playing a G flat seven chord, under under, or over the top of them, it sounds okay, at least temporarily, like I showed you, if I just keep hammering along G flat seven chord, while the bass player is playing c seven, it's not gonna sound good, but briefly before I move to the EP seven, it creates this nice tension that then resolves into that EP seven chord. Alright, so you want to understand that Okay, look, I know my blues progression, I know I can proceed each of those dominant chords
with a dominant chord that is a half step higher than the resolution chord. And again, just as a reminder here, the resolution chord here, right, f seven is my resolution chord. G flat seven is my Triton that then resolves down into that f7 chord. Alright, so let's try going through it one more time. And let's try speeding it up a little bit. Actually, you know what, I'll slow it down a little bit, just in case any of you need a little bit more time. So I'll move this down to 100 beats per minute. Now, right, let's just make this just a tad bit smaller so you can see all of it, right, and here we go. Nice and light on those chords
. Don't play it. Don't play too heavy, right? Nice in the light, and bouncing.
D flat, a flat, D flat, D flat. I'm trying to like do two things at once here. All right, so let me do this again. And I'm going to put on this so that I can kind of scan ahead and you can kind of follow along with me right so let's try it one more time. Started see seven.
Now if you want to get prepared for next week's lesson, one thing you could do is you could start to add in these Bell tones and a great Beltone to add right now is just add the octave so all I'm gonna do is I'm going to play a C and octaves. Okay. c g Flat,
flat, flat flat
and I'll also fix this one chord here that is written in incorrectly the chord symbol is messed up there right so I will fix that for you so it's D flat seven. Alright, so again if you want to grab this sheet music so that you're ready for next week just go ahead back to jazz edge comm slash Triton or check out the card that popped up in the video. Also, just as a reminder, subscribe to the channel because I have all of these podcast episodes in a playlist on the jazz edge YouTube channel. If you liked this video please do me a favor like the video subscribe to the channel and turn on notifications. If you like these simple jazz piano
tutorials check out jazz piano
daily.com right I'm doing daily jazz piano
lessons their first 45 completely free along with sheet music you can watch all 365 of them on my YouTube channel as well. I'm going to be doing them all year long. So be sure to go back to jazz piano
daily comm and put in your name and email address there. Alright, so that's it for me. Thanks guys for joining me. Looking forward to seeing you in that next podcast episode we're going to do those nice big chords
so check out Episode 48 as well. I'll see you