Jazz & Blues Basics
Here’s the thing about jazz and blues: they don’t come from the page. They come from listening, from feeling the groove, and from understanding a few fundamental structures so deeply that you can play within them freely. You’re not going to become a jazz pianist from one handout — but you’re going to understand what jazz and blues ARE, and you’re going to play some real blues and jazz patterns that sound genuinely good. Let’s get into it.
Genre Overview
Section titled “Genre Overview”Blues: Where It All Begins
Section titled “Blues: Where It All Begins”The blues was born in the American South in the late 19th century, rooted in African American work songs, spirituals, and field hollers. By the early 20th century, blues had developed a standard form — the 12-bar blues — and a characteristic scale — the blues scale — that remain the foundation of popular music to this day.
Every genre you play has blues DNA in it. Rock, pop, soul, R&B, jazz — they all trace back to the blues. When you learn the 12-bar blues form, you’re learning the single most important harmonic structure in popular music.
What makes blues sound like blues:
- The “blue notes” — flatted 3rd, flatted 5th, flatted 7th — notes that bend between major and minor
- Repetition with variation — the same phrase played slightly differently each time
- Call and response — a musical question followed by a musical answer
- Emotional directness — blues says what it means; there’s no hiding behind complexity
Jazz: Blues Dressed Up (and Out)
Section titled “Jazz: Blues Dressed Up (and Out)”Jazz grew directly from blues in early 20th-century New Orleans. As it evolved through swing (1930s), bebop (1940s), cool jazz (1950s), and modern jazz (1960s-present), it became increasingly harmonically sophisticated — but it never lost its blues roots.
What makes jazz sound like jazz:
- Swing feel — the fundamental rhythmic identity of jazz (explained in detail below)
- 7th chords and beyond — jazz rarely uses plain triads; the minimum is a 7th chord
- ii-V-I progressions — the most important chord progression in jazz (more important than I-IV-V)
- Improvisation — jazz musicians create melodies spontaneously within the harmonic structure
- Voice leading — smooth movement between chord voicings, not jumping around
The Relationship
Section titled “The Relationship”Think of blues as the foundation and jazz as the elaboration. A 12-bar blues uses three chords (I7, IV7, V7). A jazz musician plays over those same 12 bars but uses richer harmonies (substitutions, altered chords, extensions). The blues scale is the starting point for jazz improvisation. Understanding blues is a prerequisite for understanding jazz.
Essential Techniques
Section titled “Essential Techniques”1. Swing Feel — The Heartbeat of Jazz
Section titled “1. Swing Feel — The Heartbeat of Jazz”This is the single most important concept in this entire handout. If you don’t swing, you’re not playing jazz. Everything else — the chords, the scales, the vocabulary — is secondary to the feel.
What swing feel means:
In straight (pop/classical) playing, two 8th notes are equal in duration:
- da-da-da-da (evenly spaced)
In swing, the first 8th note is longer and the second is shorter:
- daa-da-daa-da (roughly a 2:1 ratio, like a triplet with the first two notes tied)
How to practise swing feel:
- Set your metronome to 100 BPM
- Play C-D-E-F as straight 8th notes first — perfectly even
- Now play the same notes with a triplet feel: think of each beat as three subdivisions, play on the 1st and 3rd subdivision
- The accent goes on beats 2 and 4 (tap your foot on 1-2-3-4, the accented beats are 2 and 4)
- This is swing. It’s a feel, not an exact mathematical ratio — listen to recordings and imitate
2. The 12-Bar Blues Form
Section titled “2. The 12-Bar Blues Form”The 12-bar blues is a 12-measure chord progression using only three chords — the I, IV, and V — all played as dominant 7th chords. In the key of C:
| Bar | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Chord | C7 | C7 | C7 | C7 | F7 | F7 | C7 | C7 | G7 | F7 | C7 | G7 |
Why all dominant 7ths? In blues, even the I chord is a dominant 7th. This is a departure from classical theory (where the I chord is major or major 7th). The dominant 7th on every chord gives blues its characteristic tension — nothing ever fully resolves, and that restlessness IS the blues sound.
3. Shell Voicings (Root + 3rd + 7th)
Section titled “3. Shell Voicings (Root + 3rd + 7th)”Jazz pianists rarely play full chords. Instead, they use “shell” voicings — just the root, 3rd, and 7th. These three notes define the chord quality (major 7th, dominant 7th, minor 7th) without cluttering the sound.
Shell voicings for a ii-V-I in C major:
- Dm7 (ii): D - F - C (root - 3rd - 7th)
- G7 (V): G - B - F (root - 3rd - 7th)
- Cmaj7 (I): C - E - B (root - 3rd - 7th)
Notice the voice leading: The F in Dm7 stays as F in G7 (it becomes the 7th). The B in G7 (the 3rd) stays as B in Cmaj7 (becoming the 7th), while the F in G7 (the 7th) moves down a half step to E (becoming the 3rd of Cmaj7). This smooth resolution — where the 7th resolves down by half step to become the 3rd of the next chord — is the hallmark of jazz voice leading.
4. The Blues Scale
Section titled “4. The Blues Scale”The blues scale is a 6-note scale built from the minor pentatonic plus one chromatic note — the “blue note” (flatted 5th).
On the keyboard, this is: C (skip D) Eb (skip E) F Gb G (skip A) Bb C
RH fingering: 1-2-3-4-1-2-3 (ascending), 3-2-1-4-3-2-1 (descending)
This scale works over the ENTIRE 12-bar blues progression in C. Every note in this scale sounds “right” over C7, F7, and G7. That’s the beauty of the blues scale — one scale, three chords, instant blues.
5. Walking Bass Line Basics
Section titled “5. Walking Bass Line Basics”A walking bass line moves in mostly stepwise motion (scale steps or half steps), one note per beat, connecting chord tones. The bass “walks” through the harmony, creating a smooth, propulsive foundation.
Basic walking bass principles:
- Beat 1: Play the root of the chord
- Beat 3: Play the 5th (or another chord tone)
- Beats 2 and 4: Use scale tones or chromatic approach notes to connect them
- Aim to arrive at the next chord’s root by step (half step or whole step)
Exercises
Section titled “Exercises”Exercise 1: Swing 8ths Drill (Level 1)
Section titled “Exercise 1: Swing 8ths Drill (Level 1)”Play the C major scale with swing feel, one octave, hands separate.
- BPM: 100 (swing feel)
- The first 8th of each pair is longer (about 2/3 of the beat), the second is shorter (about 1/3)
- Do NOT play these as dotted-8th + 16th — that’s too extreme. Swing is a feel between even and dotted
- Listen to Count Basie or Oscar Peterson to hear how this should sound
Exercise 2: 12-Bar Blues in C — Both Hands (Level 2)
Section titled “Exercise 2: 12-Bar Blues in C — Both Hands (Level 2)”LH plays the root of each chord as half notes. RH plays shell voicings in a swing rhythm.
- BPM: 100 with swing feel
- RH voicings: C7 shell (E-Bb), F7 shell (A-Eb), G7 shell (B-F) — these are rootless shells (root is in the LH)
- Play the RH voicings with a relaxed, slightly detached touch — not legato, not staccato
- Once comfortable, try varying the rhythm: add anticipations, leave some beats empty
Exercise 3: ii-V-I Shell Voicing Practice (Level 2)
Section titled “Exercise 3: ii-V-I Shell Voicing Practice (Level 2)”Practise the ii-V-I progression in three keys using smooth voice leading. LH plays roots, RH plays shell voicings.
Key of C: Dm7 → G7 → Cmaj7
Key of F: Gm7 → C7 → Fmaj7
Key of G: Am7 → D7 → Gmaj7
- BPM: 80
- Focus on how little the RH moves between chords — this is efficient voice leading
- Notice: the 7th of one chord resolves down by half step to become the 3rd of the next chord
Exercise 4: Blues Scale Patterns (Level 2)
Section titled “Exercise 4: Blues Scale Patterns (Level 2)”Play the C blues scale in patterns, not just up and down.
Pattern 1: Groups of 3 (ascending)
- BPM: 80 with swing feel
- Ascend in groups of three notes, then descend
- Accent the first note of each group
Pattern 2: Blues Scale Lick
A classic blues “turnaround” lick — the kind of phrase that signals the end of a 12-bar chorus:
- BPM: 90 (swing)
- This lick goes over bars 11-12 of the blues, leading back to the top
Exercise 5: Basic Walking Bass Line (Level 3)
Section titled “Exercise 5: Basic Walking Bass Line (Level 3)”Play a simple walking bass line in the LH over a 4-bar C7 chord. One note per beat.
- BPM: 100 (swing)
- Each note connects smoothly to the next — no jumps larger than a 3rd if possible
- Keep each note the same length (about 3/4 of a beat — not fully legato, not staccato)
- Once comfortable, add RH shell voicings on beats 2 and 4
CT-X9000IN Setup
Section titled “CT-X9000IN Setup”| Setting | Recommendation |
|---|---|
| Tone (Jazz Piano) | 001 Grand Piano or 002 Bright Piano — clean, warm acoustic piano for jazz standards |
| Tone (Blues/Organ) | 061 Jazz Organ — the classic Hammond B3 sound for blues and soul-jazz |
| Tone (Electric Piano) | 006 Stage E.Piano — Fender Rhodes-style tone for smooth jazz and soul |
| Rhythm (Swing) | Swing 1 (No. 073) or Jazz Swing (No. 075) — authentic swing rhythm section |
| Rhythm (Blues) | Slow Blues (No. 077) or Blues Shuffle (No. 079) — 12/8 shuffle feel |
| Touch Response | ON (Medium) — jazz dynamics are subtle but essential |
| Reverb | Room, level 2 — jazz is typically recorded close and dry; avoid big hall reverb |
| Registration Memory | Save presets: “Jazz Standard” (Grand Piano, Jazz Swing rhythm), “Blues” (Jazz Organ, Slow Blues rhythm), “Cool Jazz” (Stage E.Piano, Swing rhythm) |
Using CT-X9000IN Rhythm Accompaniment for Blues Practice
Section titled “Using CT-X9000IN Rhythm Accompaniment for Blues Practice”The CT-X9000IN’s rhythm accompaniment can provide a bass line and drums for your blues practice:
- Select Slow Blues rhythm
- Set tempo to 80-100 BPM
- Use Casio Chord or Full Range Chord mode
- Play C7, F7, G7 chord shapes and the keyboard generates a full blues band backing
- Practise your RH blues scale and licks over this backing — it’s like having a rhythm section in your living room
Recommended Listening
Section titled “Recommended Listening”| # | Artist & Track | Listen For |
|---|---|---|
| 1 | Oscar Peterson — “C Jam Blues” | Perfect swing feel; how the left hand comps (plays rhythmic chords) while the right hand improvises; the joy and energy in the playing |
| 2 | Thelonious Monk — “‘Round Midnight” | Dissonance used expressively; unusual voicings that sound “wrong” in isolation but perfect in context; the importance of space (notes NOT played) |
| 3 | Bill Evans — “Waltz for Debby” | Sophisticated harmony; how the piano can be gentle and introspective; the interplay between bass, drums, and piano in a jazz trio |
| 4 | Ray Charles — “What’d I Say” | The bridge between blues and soul; how the electric piano drives a groove; call-and-response between vocalist and band |
| 5 | Herbie Hancock — “Watermelon Man” | Funky blues-jazz hybrid; repeating left-hand riff (ostinato); how jazz can be rhythmically driving, not just cerebral |
Piece Suggestions
Section titled “Piece Suggestions”| Piece | Composer/Origin | Key | Difficulty | Why This Piece |
|---|---|---|---|---|
| 12-Bar Blues in C | Traditional | C major | Grade 2 | The fundamental jazz/blues form; once you can play a 12-bar blues with both hands, you can jam with any blues musician on the planet |
| ”Fly Me to the Moon” (simplified) | Bart Howard | C major | Grade 2-3 | The quintessential jazz standard; teaches ii-V-I progressions, swing feel, and jazz phrasing within a singable melody |
| ”Autumn Leaves” (simplified) | Kosma/Mercer | G minor / Bb major | Grade 3 | THE study piece for ii-V-I progressions; cycles through the circle of 5ths; every jazz musician learns this piece |
Connection to Course Sessions
Section titled “Connection to Course Sessions”This handout complements the following intermediate course sessions:
- Session 6 (Seventh Chords): Introduces maj7, dom7, and min7 chords that are essential for jazz. This handout shows you how to USE those 7th chords in a jazz context (shell voicings, ii-V-I).
- Session 9 (Advanced Chord Progressions): Covers ii-V-I and circle-of-5ths progressions. This handout takes those progressions and applies jazz-specific voicing and rhythm.
- Session 17 (Jazz & Blues Foundations): The main jazz/blues session. Read this handout first — Session 17 builds directly on everything here, adding the 12-bar blues with both hands and “Fly Me to the Moon.”
- Session 18 (Improvisation Basics): Uses the blues scale from this handout as the basis for your first improvisations.
- Session 25 (Graduation Recital): Your recital includes one jazz/blues piece. The 12-bar blues or a simplified jazz standard from this handout are ideal choices.
Jazz and blues reward patience. You won’t swing perfectly on day one — nobody does. But play the 12-bar blues every day with the swing rhythm on your CT-X9000IN, listen to the recommended recordings, and within a few weeks, the feel will start to lock in. That’s when the fun begins.