Untitled

CONTENTS
Tunesincludedin VOLUME42 are
Sono Title
1. Bb Blues - Kenny'llMakelt
2. B Blues - Wiggle Waggle
3. C Blues- Now HearThis!
4. Db Blues - RepetitionBlues
5. D Blues- The Bird
6. Eb Blues - Dr. Jay
7. E Blues - Big Apple
Track#
1
2
3
4
5
6
7
Sonq Title
8. F Blues- A LittleOf This
9. F# Blues - DowntownCarrni
10.G Blues- The Cam el
11.Ab Blues - ShuffleDuty
12. ABlues - Triple-itis
--- TuningNotes(Bb & A Concert)
T h e B l u es
l m p o r t a n tB e a ts
........
"N o w ' sT h e T i me " (C h a rl i eP a rk erTr anscr iption)
T h e Bl u es S ca l e
T h e Bl u es F o rm
T h e i i A/ 7P ro g re ssi o n...........
S i n g i n g- T h e R e a lY o u
The JazzApproachTo Practicing..........
T h i r d sa n d S e ve n th s..........
T r a n s p o si n g..........
PlaybackDevicesWith Pitch Control
C o n c l u si o n.............
The TwelveBlues Scales
Ab o u t T hi s B o o k a n d R e co rd i ng
CompleteList of AebersoldPlay-A-Longs.........
Track #
8
9
10
11
12
13
......2
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3
............4
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.........
5
..................
6
........6
............7
.........9
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9
.....10
..-..--......
10
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11
.........12
.....13
@ CONCERTKEYSONGS& CHORD/SCALEPROGRESSIONS
25
@ B b I N ST R U ME NSTON GS& C H ORD/SCALEPROGRESSIONS..................
37
@ E b I N S T R U ME NSTON GS& C H ORD/SCALEPROGRESSIONS...................
o
BASS CLEFINSTRUMENT
SONGS& CHORD/SCALE
PROGRESSIONS
...49
= piano& Drums
STEREO SEPARATIO;Ë
HANNEL
TUNING
NOTES:
Concert
Bb& A (A=aa0)
PERSONNEL
ON PLAY.A.LONG
RECORDING
JAMESWLLIAMS- Piano;BOBCRANSHAW
ROKER- Drums
- Bass;MICKEY
UAU
Published
by
JAMEYAEBERSOLDJAZ@
P.O.Box124/
New Af bany, lN 47151-1244
wwwjazzbooks.com
ts BN 978-1 -56224-200 -8
Any codas ($) that appearwill be played
only once on the recordingat the end of
the last recordedchorus.
Graphics& Engraving
PETE& SUSANGEARHART
Copyright@ 1988 by Jamey Aebersold [email protected] Rights Reserved. Printed in U.S.A. InternationalCopyright secured.
All copyrightsused by permission.No portion of this book may be reproducedin any way without permissionfrom the publisher.
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THEBLUËS
The Blues soundhas traditionally beenthe elementthat hasattracredour attentionwhen listening jazz
to
music. That sound,the Blues scale,hasseepedinto everystyleof jazz including free form. lt
be even
more popular in rock. The Blues scalebeganwith thEBluesform and is now comfortablein settings
-ay
such
as Modal tunes,Standards,BossaNovasand Ballads.
TheBluesis a musicalfotmthatiazzmrrsicianshavealwaysembracedbecauseit givesthemtheopportuniry
toexpresscmotion andeverydayfeelingand intellectualconceptsthatareoftenlearnedby studying
another
player'sstyle. Many beginningimprovisorsusethe Blues as a springboardto orherjazz forms. The Blues is 12 bars/measures
in lengthandcan be playedar any rempoor feel, 314,4/4or odd meters. Ir
occasionallyis snetchedto 14, 16or 24 barVmeasures
andhasbeenshrunkto lessthan the usual12 bars.
But theccmmongroundis alwaysthe same. . . the BLUES scALE, which is the essenceof the Blues.
The traditional Blues hasthreechords/scales.The bluesprogressionson rhis play-a-longare a little
more
sophisticatedbecausethey offer severalchallengesthatarenot presentin themoretraditionalversion. They
also are the onesmost often encounteredin jazztoday.
JazzmusicianshavealwaysenjoyedplayingtheBlues. The challengeof beingableto play
bluesfluently
in all keys is one this play-a-longset hopesto make a reality.
Charlie Parker practicedin all twelve keys. Becomingproficient in all keys is a necessary
srepin the
evolutionof the total musician. Somekeyssoundbright,somedull. Someareeasyto improvise
in and
othersrequiremoreconcentration
andpatience.Thereareno hardkeys,just unfamiliaronei. SinceI play
alto sax' I've foundthekey of Ab concert,F on thealto,to beoneof themostenjoyablekeysfor
me to solo
in. Many tenorplaytrs like Db concert,Eb on tenor,becauseit gives them a *idl ,ung. from low Bb to
highF -2t|2octaves.
I suggestthe beginnerstart with a key that hascomfortablefingeringsso as to make it easier
to rnakethe
connectionfrom mind to fïngers. Rememberto mix your practicetime with playing "by ear,,(not
looking
at the book) and by readingthe actualchord/scaleprogressions.[r'salways helpful ro memorize
the chord/
scaleprogression- the soonerthe better!
Trainyourearto hear therootsofeachchordaswell aswhenonechordmoves
toanother-calledharmonic
motion. Don't let the musicmovealongharmonicallywithoutbeingawareof where it is and where
it,s
$oing. The Bluesis jazz'commondenominator.Oftenit is treatedioo lightly andby that I meanplayers
solousingonly thebluesscaleor a pentatonicscale.With a little attentionyou canbecomeproficient
using
a varietyof scalesoundswhile playingthe Blues.
IMPORTANTBEATS
A charcteristicof jazz, and good musicin general,is the placementof chord-tones on the first
and third
beats.By playingroots,thirds,fifths andseventhson beatsoneandthreeyou uotoÀiti.ully allow thephrase
s
to flow with the semblanceof orderandcohesionwe'vebecomeaccustomedto. Bebopmusicis particularly
mindful of this technique. A studyof transcribedsoloswill show this to be the rule. I highly iecommend
David Baker's"Ho\ryTo Play Bebop - Volume l" book.
theform
musiciancan solowithouta rhythmsectionandat the sametime plainly outline
An experienced
rule in the paragraphabove. See
of the songand the harmonies.This is usually achievedby utilizing the
examples#4 and#6.
exampleof this technique' A
Referto Charlie Parker'sfamous solo on "Now's The Time" for a ciassic
portionof that solois presentedbelow with permissionof the publisherand is extractedfrom the book
à
Now'sTheTime
o1945ÀTLÀ\'Tlc MUslc coRP'
CR,ftsed ad Asi!Èd 1973ÀÎ'ANTICMUSIC CDRP'
ol 9?8ATLA}\-TICMUSlC CORP'
By CharlieParker
F Elues
NOTICEHOVI/OFTENBËATS1 & 3 CONTAINCHORDTONES
NUMBERSREPRESENTACTUÂLCHORDTONËS
l- r e r
b7
C7
b7
I
VERVE88t10
USEDBYPEBMISSION
BLUES SCALE
THEBLUESSCALE
The BluesScalesoundwhich is mostpopularis built as follows:
SCALEDEGREES: 1
EXAMPLEIN C:
C
b3
Eb
4
F
#4
F#
)
G
b7
Bb
1
C
Thereareactuallytwelve possiblestartingnotesor keys. See12BluesScaleson page10. The bluesscales
canof coursebe playedanytimeduring the 12 bar blueschorus. The notesof the scaleoften clashwith the
given harmonybut that is what makesit gagld iike the Blues! If it didn't clashin the beautiful way it does,
we wouldn'tcall it the Blues.
TheBluesscalecanbeplayedat anytime duringtheB lues.It is usedto conveya " funky" , " down-home",
"earthy", or "bluesy" sound/feel.Don'trun it in thegroundby over-use.RhythmandBluesplayersuse
thisscaleextensively.Mostjazz playersusetheBluesscaleascoloringor topping.Too muchof thesound
canmakeyour solo soundboring and lifeless. To improviseandkeep the attentionof the listenerrequires
us to havea variety of scale/chordsounds at our disposal.Think of the Blues scaleasbeing one of mâny
availablescalesounds,not theonly one.
T H E B L U E SF OR M
The Blues can have many different chord progressions.Playersof rock, gospel,soul, country and other
simplerformsof bluesmusicdon'tusethe samechordsas say,'WayneShorterin his blues,althoughthey
could if they wanted to. Usually, when you start beefing up the chords (harmony) one feels the song
becomingmoreandmorejazzinfluenced.Whenyou stanchangingthechordsto a gospeltuneit just won't
soundthe sameand the peoplewho listen to that type of music will probably not be sastisfiedbecausethe
music is no longer what it used to be. Sincejazz is an evolutionary art form the various chord/scale
modificationsand alterationsare welcomedand have becomea pan of the energythat haskept it alive.
The basic 12 bar blues usesthesechords/scales. . . a dominant7th built on the root or tonic of the key, a
dominant7th built on thefourth tone,anda dominant7th built on thefifth of the key you arein" For example,
bluesin thekey of F usesF7, Bb7 andC7; all dominant7th qualities.A dominant7th scaleis the sameas
a major scalebut the 7th is loweredone-halfstep.
A very basicbluesprogressionwould look like this:
(KEY OF F)
r . ll | " r | *r ltrIBb?|Bb?|F7I"'|"rIc7
"t
4
|rr|rrfl
mayhave
usedontheplay-a-long
will illusrrate
howthepresent
bluesprogression
examples
Thenexrseveral
evolved.
, . l i; ; 1 " , l * lr , l "o'ln uzlrz
l"'1"'l"orl"'1"'ll
3'll"'|"*1
"'|"'Iç-Iç IyI.'ll
" |" |*'Iuo'|
4'll"'l"o 'l "l "l"o
I ï lî
' lç' 1" ' ll
"o'' 1"
l ' 1"
s ll"'lnu'lr'
lr ill"; lglîfuî:,j,î.-lç v,l?'l*'1"'
6ll.'1"*
| "'lHîll; l;;l;"'.*-:11
l"'l; î;| îï l"o'
r.i l |
c- F7
u " ,l " o c -l o - a u -j c |
ll -
"o r " r lIi l
lnuzI
v7 lr7
|
l c z I o - n t l c - c7
lr r lv7 | r u r n a round
L-----------J
progression
whichis usedin the@ sectionof this play-a-long
Number6 aboverepresents
ùe chord/scale
book.
progtession
which is similarto the one foundin the @ section.
The p] sectioncontainsa chord/scale
six andis followedby a sequence
of diatonic(scalein measure
However,it usesa diminishedchord/scale
ThefirstandlastfourbarsofpJandÇ]areidentical.
wise)movingharmonieswhichleadtothelastfourbars.
It's the centerfour barswhicharealteredin the @ section.
NOTE: You will heara trianglesoundon theI lth bar(lastchorus)of the[EJsection.This is your signal
progression
is aboutto begin,
thatthe E sectionchord/scale
A blueschordprogression
thatCharlieParkerusedon "BluesForAlice" and"Chi Chi" usesdescending
root
called"Bird Blues."
movementcoupledwith a cycleof fourths(upward).This is sometimes
ll" Ito ATlo- c 7lc - r z lnu oI " o - a- | eu-| .- | c' I e- nzI c- .'ll
Seevolume 2 "Nothin' But Blues"for a Bird Bluespracticetrack.
"Mr.P.C."byJohnColtraneisafavoriteanduses
Bluesinminorkeyshasbeenpopularwithjazzmusicians.
minorbluesprogression,("Mr. P.C."is includedin Volume27 - "JohnColtrane"play-a-long
thisstandard
set.):
*-lr- l.- l"- 1",l.'*'l"-l Do"'.' ll
ll"- l"- l.- l"-c'*'l
"Watermelon
Itcan befoundonVolume11- "Herbie
HerbieHancock's
Man" is oftencalleda16-barblues.
Hancock"play-a-longset.
THEII/V7PROGRESSION
A II chord/scaleis usuallyminor (dorianminor). Whena minor chordappearsin a songor bluestheplayer
usuallythinks,"is thisthebeginningof aA,N7 orlINT /l ?" If it is a pan of oneof theseharmonicsequences
the player then knows what to expectin the next few beatsor measures.The II chord is a signpostthat
andseveralf,N7 /I sequences
in the
musicianshavelearnedto look for. ThereareseveralIW7 sequences
bluesin this book. The examplebelow showsyou wherethey occurin the@ and E sections.
F Blues
Sometimesthe II chord/scaleis half-diminished.
tl* l*'1"'li-
P7
v7
+
Bb?
I
l*, 1,,11o
D?
v7
GI
tr
c7
v7
A-
u
D7
v7
G.
n
cz ll rz
v?l f r
The One(I) chordin aIlNT llprogressionis usuallymajorbut in theBluesit is Dominant7th (majorscale
butwith a lowered7th scaledegree).TheII andtheV7 usethesamekey signature;they havedifferentroots
(tonics)but the notesof eachscaleareidentical,just beginningon differentnotes. The tr chord/scalegets
its namebecauseit's the secondnoteof thekey theBluesis in. The V7 is the fifth noteof the key the blues
is in. Example: the tr chord(two chord)in an F Bluesis G minor. G beingthe secondor II of the key of
F. The V7 in anF Bluesis C7 (C dominant7th) becauseC is thefifth noteof thekey of F. G minor (dorian
minor) andC7 havecommonnotesandfingeringsin theirrespectivescales.Both scaleshaveoneflat - Bb.
Jazzplayers have traditionally learnedpatternsand licks that allow them to maneuverthrough IW7
it leadsto theendof thechoruswhich
progressions
in thesmoothestmanner.TheIW7 is imporrantbecause
point
The
IW7 andIlNT lI actasroadsigns
leads
strongest
any
tune,
the
beginning.
to the
of
of coursethen
for theharmony.Theyallow thelisrcnerto knowwheretheharmonyis headed.It helpsusenjoythemusic
andkeepourplace.ForfurtherstudyofIW7 andIlNTI,consult Volumes3 and16oftheplay-a-longseries.
THEREALYOU
SINGING.
Iù/eshouldbeginby askingyou to sing (with your voice) severalchorusesof bluesalongwith the record.
I suggesttapingyourselfso you can listento yourself, andthen,with your instrumentin hand,try playing
IcontendthatwhatyousingisoftenclosertotheREALYOUthanwhatcomes
thephrasesthatyoujustsang!
out of your instrument.On our instruments,we areinhibitedand limited by our lack of knowledgeof the
instrument.If thisis so,andI truly believeit to be,themusicianwho knowshis instrumentwell will have
a muchbetterchanceof conveyingthemusicthatis containedwithin his mind to you,the listener.When
youarcuryingto playon yourinstnrmentwhatyouhavejust sung,besureto playwith thesameinflections,
articulation,dynamics,etc. If you areusedto listeningtojazz music,your vocal solowill probablybefairly
recognizable,
eventhoughyourvoicemaycrackandsputterat times. Practicesingingwhenyou aredriving
by yourselfor walking to schoolor to theoffice. Practicesingingwithin your mind while lying in bedor
waiting for a bus. Put your mind to useandit will instantlystanpayingyou dividendsin that you will be
ablc to recognizephrasesothersplay andthis will enableyou to put thoseideasin motion on your chosen
instrument. I haveheardmany ftne jazz musicianssaythey havedonemuch practicingaway from their
instrument.Theymentallypractice,andwhentheyfinallyputtheirinstrumentin theirhandsit is asthough
they have alreadyplayedthe musicalideas. I would like to point out that many musiciansrefer to a
particularlybeautifulmusicalphraseor soloassinging,eventhoughthemusicianis playinganinstrument.
For example,"Coltranewasreally singing."
THEJAZZ APPROACH
TO PRACTICING
Whenbeginningto practicetheBlues,I feelit is necessary
to getthefeelof theroots,thenthefirst two notes,
first threenotes,first five notes,thenthetriad (root,3rd, 5th),andfinally theentirescale.Hereis whatthat
would soundlike in thekev of F Blues.
EXAMPLE
#1
ROOTS
F?
F?
FIRST2 NOTES
F7
FIRST3 NOTES
FIRST5 NOTES
TRIADS
SCALE
You canalso playthe 7th chordandgth chordsand scalesin thirds.
Whentwo chordsappearin onemeasureyou haveto altertherhythmof thepatternor condensethenumber
of notesin your paûern. No matterwhat song you are working on, use the abovemethodfor getting
with theharmonicmovementof thetune. I haveheardtwo of the top jazznumpetplayersin the
acquainted
counrrysayrhisis thefirst thing theydo whenlookingovera newpieceof musicthat theyaregoingto solo
to the variousscaleand chord soundsin
over. Ii makesgood sensebecauseit getsyour ear accustomed
to thefingerings.
your
mind
fingers
and
to becomeaccustomed
It
allows
also
advanceof theactualsoloing.
ANY newsong.You canvary therhythms
I stronglyadviseusingthismethodof practicewhenapproaching
procedure.
practice
to this
asyou becomeaccustomed
THIRDSANDSEVENTHS
andtheseareoftentotallyneglectedby young
Themostimponantharmonicpointsin thebluesprogression,
improvisors,arerhecircledsectionsbelow. Smoothresolutionof the3rd or 7th of the dominant7th scales
is extremelyimportantand is whatallowsthe listenerto know whereygg are in the blues.
EXAMPLE#2
TURNAROUND
v7
vI7
The 3rd (major 3rd) andthe lowered3rd (minor third) of thekey you are in arevery importantnores.Some
peopleiike to begin learningthe bluesby gettingthe "feel" and "sound" of thosetwo tones. The 4th note
of the tonic key is an importantnotebut mainly on thelast four measures.Here is an exampleusingthese
threetones. (The numbersrepresentthe tonesof the F7 SCALE throughout.)
EXAMPLE#3
F BLUES
F?
b?
AO
P7
C-
D?+9 c -
F7
Bb?
Bb?
A
Hereis a typicalblueschorusutilizingthethreenotesmentionedabove.Arrows indicatethesenotes.Also,
noticehow often beatsone and threecontainchordtones(1, 3, 5 or 7).
EXAMPLE#4
F BLUES
c-
F?
F7
It would be good to practiceimprovisingon the 3rd or 7th of eachchord in order to get the soundandfeel
of theharmonyin your mind. Usingjust the3rd and7th will soundlike this: (Noticethehalf stepmelodic
motionfrom thefirst chordto the second.This happensin othermeasures,
too.)
F BLUES
EXAMPLE#5
I urgeyou non-pianoplayersto practiceexample#5 with your left hand,oneoctavelower thanwritten,and
uy playingexercisesin #1 with theright handsoyou canhearthebasicharmony(3rd & 7th) in theleft hand
while runningpatternsor soloingin theright hand.
Most goodwind playershavea knowledgeof the keyboardandcanplay bluesin severalkeys. It is much
easierto solveharmonicproblemswhileLOOKING at thepianokeysthanit is to seethemon a siu(finger
tableor trumpetvalves.
theharmony.Notes
It is a goodideato leadinto the3rdor 7th notesof scalesby half steps.This strengthens
indicate
lines
half-stepleading
good
Dotted
are
listed
below.
choicesat thebeginningof measurcs
thatare
tones.
EXAMPLE#6
F BLUES
F7
\.nuz
TRANSPOSING
I encourageyou to transpose(movenotesto anotherkey) anyof themelodiesin this book to otherkeys. It
would be excellenteartraining. For example,take"Kenny'llMakeIt" andplay thesamenotesandrhythms
but moveeachof themup one-halfstepto thenextkey. With practiceyou'Il be ableto transposemelodies
quickly. It reallyamountsto hearingthen playingin a newkey. Theminddoesn't
andchordprogressions
know whatkey it is in until you playa noteandthink,this is Bb or G or whatever. Goodimprovisorscan
soloin all keys fluently. In anoverallsenseall keysarethesamebutin anotherreal senseeachkey hasits
own characteristics
of sound,feel, timbre,mood,expression,touch,andchallenge.
WITHPITCHCONTROL
PLAYBACKDEVICES
Thosewho own a devicewith pitch controlwill want to useit to practiceparticularbluesin new keys.
into differentkeysjust for the challenge;it makesplaying
havealwaysmovedchordprogressions
Jazzers
take"Kenny'll Make It" (Bluesin Bb ConcertKey) and play
in the originalkey easier.For instance,
that melodyup l12 stepwith the playbackdeviceup 112step.This type of practiceis a challengebut is
somethingthat hasbeendonefor years.Therearecomputerprogramsavailablewhich allow you to slow
is
thepitch!Thisamazingtechnology
withoutchanging
to l12,ll4, andevenslowerspeeds
downpassages
with
music.
practice
work
and
changingtheway we areableto
CONCLUSION
1. Play what you hear in your head.Recordyour voice and transcribeit on your instrument.
walking,etc.Think aboutthe inten'als)'ou aresinging.
2. Singwith your voicewhile driving,showering,
you
pieces
chords?
Analyzewhatyouarethinking.
of scalesor
singingbits and
Are
andsingthe phrasesthey
3. Listento ja.z playersplaytheblues.Spenda lot of time with theirrecordings,
play.Try to play them yourself.
in orderto bring
4. Remember,
leadingtonesarethe3rdand7thusually.Thesetonesshouldbeemphasized
out the harmonicmovementfrom chordto chord.
whenplayingon a blues.Don'tjust playon
5. Useeverythingyouhavelearnedaboutmelodicconstruction
thebluesscale.Thatsoundcanwearprettythinin thehandsof a novicebutcansoundfine wheninterspersed
rvithphrasesfrom theoriginalharmony.
6. Transcribea soloor a portionof a favoritesoloandplayit on your instrumentrvith the sameinflections
downby imitationandyou canbenefitgreatlyby
astherecordedversion.Thejazztraditionhasbeenpassed
transcriptions.
The TWELVEBLUESSCALES
TREBLECLEF
l0
BASSCLEF
After youbecomefamiliarwith thebluesscaleasI haveit listcdyoumaywantto addones to thescalcwhich
give the scalesoundrnorevariety. Addedtonesarecirclcd.
Erempte:F Blues
scale. . . r,@ oo,@ Bb, & c,@ *,@
".
This scalesoundsstrangewhenplayedstraightupor down. Jazzplayersusuallyptaybits andpieccsof the
scalcor makcup licks utilizing ccrtainnotcsof thcscalc.You will wantto transposcthis scalcto all twclvc
kcys for practice.
ABOUTTHISBOOK& CD
foreachtrackwillequalplplus
TheTOTAL numberofchorusesplayed
not
an
extra
chorus.
at
melody
[lis
El.rn"
For example:
No. 1 Bb Blues (Kenny llill Make Il is playeda total of I choruses.
NOTES:
l) You will heara triangle sound gth. l lth bar (last chorus)of the @l
section.This is your signalthat thelÇlSection chord/scaleprogressionis
aboutto begin.
2) On the D Concert recordedtracksthe soundof the triangle on the 5th
choruswas inadvertentlyomitted.
3) The Dom. 7+9 in the 8th bar of theS sectioncalls for a raised5th in
the chord/scale.I havewritten a natural5th becauseI feel it will help the
novice improvisorto heartheharmonybetterat that point in the progression.
Il
1. Bb BLUE S
Bb BLUESSCALE
6
Kenny'llMakelt
El n,rer-oov
J=se
Bb?
--
fl
SWnc FEEL- pray4 Choruses
l-ba-.
't-
b- t.
Eb?
F?
--
NovAFEEL- ptay4 Choruses
pl oOSSA
a, b tt
I
F?
bp-+
F-
2. B BLUES
El rrrer-oDY
B ELUESSCALE
WiggleWaggle
I
-af
B'I
I
--v
Eb-
Ql nay 3 Choruses
c*â
F*?
l-1f
6
3. C BLUES
El nrer-oDY
J=se
NowHearThis!
G7
n,'-
^_-
pl rray5 Choruses
^
cr
E7
_ -o b ^ c'^
h^* ^
*b- o"
c-
' a n0
pl nay3 Choruses
*b^o-
r'
FT
oh.+ *
e-
4. Db BLUES
6
EI ner-oDY
Blues
Repetition
J= ss
ArzT-
ffi
Æ6'C>.
fl nay4Choruses
I
Q,VJ
Db BLUESSCALE
> ro?
Baz+9rf
Gb?
I
bo- v+
plelay 3 Choruses
PA7
5. D BLUES
D BLUESSCALE
El ueloov
The Bird
z-'
J = tea BossaNova
T cz=
D'I
fl nray5choruses
Gl
_e_e
+ z!
-o-ot
9
ce-ta
A-
Ftg
F*-
plrray 6 Choruses
D?
+ a -! t !
nl
L
**.
A;
-l-
a
A-
ït;b=Ti
_b
:
6. Eb BLUES
Eb BLUESSCALE
Dr.Jay
EI uer-oDY
lrr?.
= tzo
Eb? J
\
rE
bT
-',.fr*
>
Eb?
F----
G-
1â
Bbz
fl nav4 Choruses
L* brb* r
Abz
rlEbz
bC- P-1
Bb-
I
rb
?
ôa
b--b?
|
Oe
=
b - *b - b*
a
Eb?.
I
, ^btT
cz*9-b-
pl nray5 Choruses
b -- 4
I
oq '.-
Ab?
L*b*
bp I
YUE
E ELUESSCALE
7. E BLUES
EI nrer-oDY
6
BigApple
) =r c
^1"
obt+/
fl nay4Choruses
B_
u_*E?l_ _ 3
pl naV3 Choruses
.s. L
ob-
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