-
No guitar or way to play music near me, but from what I remember, this is the form...
Bbm6 | Ebm | Bbm6 | Bb7
Ebm | Ebm | Bbm6 | Bbm6
F7(#9) | Eb7(#9) | Bbm6 | Cm7b5 F7 |
Could be a bit off on the turnaround, will check tonight when I get some headphones. But it's a pretty standard minor blues form.
-
03-18-2019 06:54 PM
-
Originally Posted by Bahnzo
As for the m6 idea, the fact is that it's played sometimes and sometimes not. Same with the Bb7 in bar 4, only very occasionally.
Like most minor blues I think they're loose with what they play because there are so many variations one can use. It gets boring just repeating the same form over and over.
The trouble with transcribing a Bbm blues is that the key sig is actually Db, that's five b's. That's complicated. I notice you were writing Bb as A# which is enough to confuse anybody!
Anyway, as I keep saying - and I will probably die saying it - it's just music, it doesn't matter. Don't copy others too much. A lot of them are unskilled and just play it. The analysts make it seem more than it is. If Grant Green was here, and you asked him what he did, he'd probably look at you vaguely and say 'Dunno, man, just some kinda minor thing'. I'm not joking.
-
Originally Posted by mr. beaumont
Last edited by Bahnzo; 03-19-2019 at 01:22 AM.
-
Originally Posted by ragman1
Originally Posted by ragman1
And maybe he would say that, but then my experience is also that a lot of musicians talk vaguely like that because they either don't want to try to explain it to a non musician, or it's what they've heard others say and it sounds "mystical" when they say shit like that. I can understand the first reason, but I don't care for the second.
-
Originally Posted by Bahnzo
The harmonic minor is such a natural part of the minor key and has been for hundreds of years.
-
Bahzno -
I wanted to do this so you may as well have it. This is a short demo of various things you can use over a simple Bbm blues. The form's the same as the Grant Green thing.
Don't forget it has no head, it's just a demo. I'm not bouncing off a tune, just picking the notes quite carefully according to what I'm trying to demonstrate. In real life it would be much more fluid. That's the trouble with demos :-)
What I've used is this:
Bars 1-3 - Bbm:
Bbm blues pentatonic
Bb dorian (Ab maj)
Bb melodic minor
Bb harmonic minor
Bar 4 - Bbm/Bb7 (transition to Ebm):
Eb harmonic minor
B,D,F,Ab diminished (to simulate B7b9)
F wholetone
G major triad (to simulate B13b9)
Bars 5-6 - Ebm:
Bbm blues
Eb harmonic minor
Eb lydian harmonic (gives a Spanish feel and probably has other names)
Bars 7-8 - Bbm:
As before
Bar 9 - F7:
Bbm blues
Fm arp
Fm blues
Bar 10 - Eb7:
Bbm blues
Ebm blues
F7
Bar 11 - Bbm:
As before
Bar 12 - F7:
Bbm blues
F7
F7alt (F# melodic minor)
The chord at the end is a Bbm/M9 just because I like it. 6x7668.
The point is this sort of thing breaks away from the usual options. Really it just provides a lot of alternate sounds. In the end, though, I suspect the good old blues sound is best. Bigger and better impact than all this clever stuff :-)
-
Cool song! My quartet is called Tracin’ Tracy after this song ;-) (Tracin' Tracy (Tracing Tracy))
(But the song is not even on our setlist anymore).
I am a big Grant Green fan, but I doubt Grant was really giving it much thought if he was playing harmonic minor, melodic minor or whatever.... I think he’s a very intuitive player that probably worked out his own system. Myself, to me all minor blues is minor pentatonic with borrowed harmonic/melodic/augmented notes added to taste: raise or lower your 3rds, 5ths, 6ths, 7ths and 9s whenever you think it sounds right (raising the b3 of the root chord to a major 3rd when you go to the IV is something Grant does very often - add a b9 to the same lick and you’ve got instant Greenery .Last edited by Little Jay; 03-19-2019 at 06:25 AM.
-
Originally Posted by Little Jay
I saw your band. It's right there under Grant Green. Pretty groovy :-)
Unless there's another one with the same name
-
Originally Posted by ragman1
Originally Posted by ragman1
-
Originally Posted by ragman1
-
Great, I was hoping to see what happened
Doesn't need to be perfect :-)
-
Originally Posted by Bahnzo
Like with that Harmonic Minor...there's a reason GG used it in that specific spot...
-
It’s a cool track I don’t think I’ve heard before. I heard no clams. About 1/4 into the track he plays one lick that seems a bit tentative as it trails off. What he’s playing there seems exploratory but not wrong. Later, he repeats a lick several times as the chord changes under it, but that’s a common blues device. I think it’s intended to create some tension that’s relieved when the chords come back home.
-
I just sightread through the example... and looked and sounded like simple sub V... E7 approach to Eb7.
Charlie Garnett - Franken Tele
Yesterday, 08:52 PM in Guitar, Amps & Gizmos