Memorize these phrases to jump-start your chord tone vocabulary.

The same chord tones are every­

where on the neck; when you can comfortably see and hear the half-step connections in this position,
you can extend the same idea to other positions by following the same procedure, but always balance
every new melodic idea with equal parts timing and touch to keep the phrases convincing and not too
"technical." Play over the changes again and again until you can consistently hear and feel the next chord
coming before it gets there-that's the definition of harmonic awareness.
Next, we'll apply the same approach-targeting 3rds and 7ths-to the 17-V7 change. Again , play the
chord voicings in fifth position (see the diagrams provided) and compare shapes:
• The major 3rd of A7 (C�) is a half step below the 7th of E7 (D).
• The 7th of A7 (G) is a half step below the major 3rd of E7 (G�); the root (A) is a half step
above the same note.

Fig. 9: 3rds and 7ths: 17-V7

Performance Notes
1. Bars 1-4: This phrase reminiscent of the Louis Jordan/B.B. King classic "Caldonia" empha­
sizes C# (the major 3rd of A7); on E7, the melody shifts up a half step to the 7th of E7 (D)
and goes on to outline the E7 chord shape. The final G gives a blue-note twist to the major
3rd of E (G#) before resolving to A at the beginning of the next bar.
2. Bars 5-8: The A7 phrase emphasizes G (the 7th of A7), which slides up a half step to G#
(the major 3rd) of E; the final blue-note G again sets up the return to A.

Q) 3
Q) Play-Along
Demo 8-3
A7 E7
(0:26) .5fr

l/4

_)

1/4 1/4 1/4 l/4

A7
.5fr

-
'"
ti
-
tJ
���
�ft
IU

92
 Chapter a

12-Bar Chord-Tone Phrasing

The next example assembles the 17-IV7 and 17-V7 changes into a 12-bar progression. The melody
arranges the half-step shifts between 3rds and 7ths in a 12-bar call-and-response structure similar to
blues classics like "T-Bone Shuffle" and "Caldonia." The sparse melodic phrasing leaves the "answers"
open for the rhythm section to fill, like the classic horn-section arrangements of 1940s and 1950s blues.

=ig. 10: "Three-Seven Blues"

Performance Notes
1. Bars 1-4: The main theme centers around the major 3rd of 17 (C#).
2. Bars 5-6: C# drops to C natural, the minor 7th of 07 (IV7), while the rest of phrase remains
the same.
3. Bars 9-10: E7 is reflected with just one note, the 7th (D), followed by a variation on the
main theme that includes the 3rd of 07 (F~).
4. Bars 11-12: This standard turnaround phrase concludes with the root of V7.

- 8-4 Play-Along 4
~ - - - -- ---main theme---------
A7
~

~ ! .P F It r t I 7 Ji 1~tf r r ctttr J n Itlr 1

~

i
5
5 6 5
?
'6 7
?
5
\
6 5 6 6
7 7 7 7 7 7
I

D7 A7

;&lir
~
• •
F F r/ J
£] J) t r
l J IF '
Et=*
'
"J I "J

1/4
t~
5 7
I
5 5 7 5 5 6 6
7 7 7 7 7

E7 D7 A7 E7

)t.#r E Fq(Ii? J J]~J s

~ ~
•
14 f l l 7 ff} E ~
I
F_) J #J J I J'l 7 7 II
1/4

;'i~ t~ ~

I
7
5
7 5
7

7 4
7
7 7
I
&
\
-6
5
7
'l
5- -6
7 5
7 I
93
 The next example is a 12-bar solo roughly based around the melody of "St. Louis Blues" that integrates
chord tones and color tones (the 6th and 9th) as well as filled-in responses for more continuous flow.
Greater harmonic awareness helps give the phrasing some of the natural melodic qualities of a vocal line,
and in fact one of the best ways to develop and expand your use of chord tones is to imitate and analyze
vocal melodies.

Fig. 11: "St. Louis Blues" Chord-Tone Solo

Performance Notes
1. Bars 1-2: The first "call" quotes the vocal melody of "St. Louis Blues" with a few embellish­
ments. On the quick change in bar 2, the melody emphasizes the 3rd (F�) and 7th (C) of 07,
while the shift to Pattern #3 provides easier fingering.
2. Bars 3 -4: The response is based around the A? chord structure, filling in the melodic line
with the 6th and then moving in half steps down to C (the 7th of 07).
3. Bars 5-6: The melody echoes "St. Louis Blues" again, emphasizing the 3rd and 7th of 07
as the fingering shifts again to Pattern #3.
4. Bars 7-8: The second response is a variation of the first.
5. Bars 9-10: The high point of a 12-bar blues solo usually comes over the V7 change-here,
the melody emphasizes B and Gt (the 5th and major 3rd, respectively, of E7) and outlines
the O before returning to A.
6. Bars 11-12: This is a standard turnaround phrase based on chord tones; the added IV? in
the turnaround is a common variation in melodic blues.

GG
Oe:.o 8-5 Play-Along 5
0:00) call #1 ------------. .------response #I-----
A7 D7 A7

j-��1��1�r��-r e#��F -p�r�Al�,-J�hJ������n�1�� -�--,-���1 f rt�� rr:!

a �; �� �� i�J
1/2
����-�

!i
t
' 5 8 5
6 6
7 7
5 8 7 6

........-------+------+---2_,::.._.. ••7, • , I
.-----------call#2---------- ------ response#2------
D7 3

3 3
1/2 1/2
t t t
1/4 J/4
""-""�N-""�-"�
5 ..? _,,5 5 , , 5
8 8 5 7
4 2 5/ '5- 5
4

.--------turnaround ------­
A7 D7 A7 E7

�I- I
r,---j I 1/4

_;;;Y
1---------x 1----f1�101-+----�5--'17��5-- --i��---1----&.,......�_.,s.--�6·7·--1�--+:---1t--',-- ...----,
s 5 ' 5 8_) ""'�5.�---��-. _
--
7 7
7
5 7

(NOTE: The examples in Figs. 11 and 12 are performed on the audio demo back-to-back.)
94
 Chapter 11

ne next figure demonstrates how to play the changes with phrases that incorporate each of these
:�romatic tones in bar 6 of the 12-bar progression (bars 5-8 are shown). The first example adds o# (the
r=.::xx of :IV 07), and the second adds F natural (the �3rd of 1Vmi7) to otherwise typical blues phrases:

2: Blues Phrases with Chromatic Tones

.:..=. -Sharp four diminished"
0 ug 11
D7 A7 ��

v I E qg ttc E1F:f1C * II
Bar4 Bar5
--- Bar6 Bar7 Bar8

I
- 5 7 5
5
6 7 5 5 7
5
7 8 8 8 7 5 6

_.:: -=our minor"

-Along 11
D7 Dmi7

II
Bar4 Bar5
--- Bar6 Bar7 Bar8

! I
5 5 5
7 5 6 7 6 6 5 5 7
7 7 7 5 6

The chord-tone approach is standard in jazz-oriented blues, but mainstream blues and blues-rock
g..1rtarists who play over chromatic changes almost invariably take the second, key-center approach. The
'ollowing example shows a key-center phrase that fits over either chromatic chord; the melody doesn't
.,elude any chromatic tones, but the C in bar 6 is common to both passing chords as well as the key
center (on the audio demonstration you can hear the same phrase played over both sets of changes).

3: Key-Center Phrase over Chromatic Changes

----
(D#O?)

#Ji t�E r Ir f bp #p r v (f err

D7 (Dmi7) A7
--- /': �

I f LJ#ce•rflf � I
--
.)

--- ---- ��--

I �
Bar4 Bar5 1/2 Bar6 Bar 7 Bar8

I' ,;I I I
1/4
_)

:!
5 5 5 1 5 5
5 7 5 6 7 5 5
7 5 6

The best way to develop your ear for chromatic changes is through repetition. Loop the changes and
play over them until they become familiar, identify which notes work best, and smoothly integrate the
phrases into your normal style. Like color tones and chord tones, the more you listen to and play chro­
matic changes and melodies, the sooner they work their way into the sound of the key center and become
part of your vocabulary.
145