Session 17: Jazz & Blues Foundations
Overview
Section titled “Overview”- Phase: 4 — Genre & Creativity
- Duration: 75 minutes
- Prerequisites: Completed Sessions 1-16. Pop voicings (sus, add9), syncopated comping, polyrhythm experience. 7th chords (Cmaj7, G7, C7, D7, Am7, Dm7, Em7). ii-V-I progressions in 3 keys. Shell voicings (root + 7th).
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Play the 12-bar blues form with correct harmony (I7-IV7-V7)
- Demonstrate swing feel — triplet-based eighth notes vs straight eighth notes
- Play the C blues scale (C-Eb-F-Gb-G-Bb-C) with correct fingering
- Build and play shell voicings (root + 3rd + 7th) for jazz chords
- Explain the walking bass line concept and play a simple walking bass
- Perform a 12-Bar Blues in C with both hands — full transcription
- Perform a simplified arrangement of “Fly Me to the Moon” with both hands
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (Jazz Organ or Electric Piano tone)
- Sustain pedal connected
- Metronome set to 100 BPM (with swing/shuffle feel if available)
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Scale and 7th Chord Review (4 minutes)
Section titled “Scale and 7th Chord Review (4 minutes)”Play these at 72-80 BPM:
- C major scale, 2 octaves, HT — push for 80 BPM
- F major scale, 2 octaves, HT
Now play these 7th chords, RH, 4 beats each:
You learned these in Session 6. Today they become the foundation of the blues.
ii-V-I Review (3 minutes)
Section titled “ii-V-I Review (3 minutes)”Play ii-V-I in C and F, both hands:
- Key of C: Dm7 → G7 → Cmaj7
- Key of F: Gm7 → C7 → Fmaj7
These jazz progressions are the building blocks for “Fly Me to the Moon.”
Pop Quick Check (3 minutes)
Section titled “Pop Quick Check (3 minutes)”Play 4 measures of the “Clocks” ostinato at 110+ BPM. Is it steady? Good. Now forget that steady, straight feeling — jazz is about to bend your time sense.
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”The 12-Bar Blues
Section titled “The 12-Bar Blues”The 12-bar blues is the most important harmonic structure in American music. Blues gave birth to jazz, rock, R&B, and hip-hop. Every musician should be able to play a 12-bar blues.
The structure uses only three chords — I7, IV7, and V7 — all dominant 7th chords:
12-Bar Blues in C:
| Bar | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Bars 1-4 | C7 | C7 | C7 | C7 |
| Bars 5-8 | F7 | F7 | C7 | C7 |
| Bars 9-12 | G7 | F7 | C7 | C7 (or G7 turnaround) |
That is the entire form. 12 bars. 3 chords. Simple — but infinitely deep.
Why all dominant 7ths? In standard theory, a dominant 7th chord “wants to resolve” to a chord a 5th below. In blues, EVERY chord is dominant 7th — which means every chord has tension. Nothing fully resolves. That constant, unresolved tension IS the blues sound.
Swing Feel
Section titled “Swing Feel”Straight 8ths vs Swing 8ths:
In pop and classical music, eighth notes are straight — evenly divided: da-da-da-da-da-da-da-da (all equal)
In jazz and blues, eighth notes are swung — the first eighth is longer, the second is shorter: daa-da, daa-da, daa-da, daa-da (like a triplet with the first two notes tied)
How to feel swing: Think of the word “shuffle.” Say it repeatedly: “SHUF-fle, SHUF-fle, SHUF-fle.” The emphasis falls on the first syllable, and the second syllable is shorter. That is swing.
Play a C major scale in straight 8ths: C D E F G A B C — all even. Now play the same scale with swing: C---D C---D E---F E---F — long-short, long-short.
Set your metronome to 100 BPM. Tap your foot on every beat. Now clap:
- Beat 1: clap
- And of 1: clap (slightly late — closer to the next beat)
- Beat 2: clap
- And of 2: clap (slightly late)
That “slightly late” quality of the upbeats is swing.
The Blues Scale
Section titled “The Blues Scale”The C blues scale: C - Eb - F - Gb - G - Bb - C
This 6-note scale is the melodic foundation of blues and jazz improvisation. It contains:
- Minor 3rd (Eb) — the “blue” sadness
- Perfect 4th (F)
- Diminished 5th (Gb) — the “blue note” — the most characteristic blues sound
- Perfect 5th (G)
- Minor 7th (Bb) — more blue tension
RH fingering for C blues scale:
Play it ascending and descending, 3 times at 60 BPM. Listen to the “bluesy” sound — dark, gritty, emotional.
Technique (15 minutes)
Section titled “Technique (15 minutes)”Shell Voicings for Blues (4 minutes)
Section titled “Shell Voicings for Blues (4 minutes)”Shell voicings are the jazz pianist’s secret weapon — stripped-down chord shapes using only root + 3rd + 7th. They sound sophisticated without being cluttered.
Practice transitioning between these three shell voicings, 4 beats each, at 80 BPM: C7 → F7 → C7 → G7 → F7 → C7
Notice how smooth the voice leading is: in the RH, only 1-2 notes change between chords.
12-Bar Blues Chord Pattern (4 minutes)
Section titled “12-Bar Blues Chord Pattern (4 minutes)”Play the full 12-bar blues using shell voicings:
| Bar | Chord | LH | RH |
|---|---|---|---|
| 1-4 | C7 | C(5) | E(1) Bb(4) |
| 5-6 | F7 | F(5) | A(1) Eb(4) |
| 7-8 | C7 | C(5) | E(1) Bb(4) |
| 9 | G7 | G(5) | B(1) F(4) |
| 10 | F7 | F(5) | A(1) Eb(4) |
| 11-12 | C7 | C(5) | E(1) Bb(4) |
Hold each chord for 4 beats. Play the full 12 bars 3 times at 80 BPM.
Walking Bass Line (4 minutes)
Section titled “Walking Bass Line (4 minutes)”A walking bass is a LH pattern where the bass “walks” through chord tones and scale tones, one note per beat, creating a flowing, swinging bass line.
Walking bass for bars 1-4 (C7):
Each note is a quarter note. The bass “walks” through the C7 chord tones and nearby scale tones, creating forward motion.
Walking bass for bars 5-6 (F7):
Walking bass for bars 9-10 (G7-F7):
Practice each section separately. The walking bass should sound like a smooth, continuous line — no jumps, no gaps. Keep it swinging.
Blues Scale Exercises (3 minutes)
Section titled “Blues Scale Exercises (3 minutes)”Exercise 1: Play the C blues scale ascending and descending, RH, at 80 BPM with swing feel. 3 times.
Exercise 2: Play this blues lick (a short melodic phrase):
(Ascending through the blue notes, then descending)
Play 4 times with swing feel. This is your first blues lick — a melodic building block for improvisation.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”Piece 1: 12-Bar Blues in C — Full Arrangement (12 minutes)
Section titled “Piece 1: 12-Bar Blues in C — Full Arrangement (12 minutes)”This is a complete 12-bar blues with melody, chords, and bass. It combines everything you just learned — shell voicings, swing feel, blues scale melody, and walking bass.
Tempo: 100 BPM (swing feel) | Time Signature: 4/4 (swing 8ths) | Key: C (blues)
Right Hand — Blues Melody:
Left Hand — Shell Voicings + Walking Bass (simplified):
For the first learning pass, play shell voicings (whole notes):
Once comfortable, upgrade to walking bass:
Continue the walking pattern through all 12 bars.
Practice Strategy:
- RH melody alone, measures 1-4 — play with swing feel at 80 BPM. Feel the long-short pulse. 3 times.
- RH melody alone, measures 5-8 — 3 times.
- RH melody alone, measures 9-12 — 3 times. These measures use chord arpeggios.
- LH bass alone, all 12 measures — simple whole notes first. Then try walking bass if ready.
- Both hands, measures 1-4 — slowly at 70 BPM. 4 times.
- Both hands, all 12 bars — target 100 BPM with swing.
Expression:
- Swing everything. No straight 8ths. Long-short, long-short.
- The blue notes (Eb, Gb, Bb) should be played with extra feeling — lean into them slightly.
- Play mf. Blues is not shy — it is confident and emotional.
- Bar 4 (the whole-note G) is a “breath” in the melody. Let it ring.
Piece 2: “Fly Me to the Moon” — Simplified Arrangement (13 minutes)
Section titled “Piece 2: “Fly Me to the Moon” — Simplified Arrangement (13 minutes)”“Fly Me to the Moon” (originally “In Other Words” by Bart Howard, 1954) is one of the most famous jazz standards. Its chord progression is a textbook demonstration of ii-V-I motion — the harmonic engine of jazz.
Tempo: 120 BPM (moderate swing) | Time Signature: 4/4 (swing) | Key: C major
Chord Progression: Am7 → Dm7 → G7 → Cmaj7 → Fmaj7 → Dm7 → E7 → Am7
This is mostly vi-ii-V-I motion — each chord resolves to the next by a circle of 5ths.
Right Hand — Melody:
Left Hand — Shell Voicings:
Repeat the same pattern for measures 9-16.
Practice Strategy:
- LH shell voicings alone — Learn the chord pattern. Each shell voicing is root + 7th. Play all 16 measures at 80 BPM. The changes should be smooth — minimal hand movement.
- RH melody alone, measures 1-8 — with swing feel. The melody has lots of space (whole notes). Let them ring. 3 times.
- RH melody alone, measures 9-16 — 3 times.
- Both hands, measures 1-4 — slowly at 80 BPM. The melody floats over the shell voicings. 4 times.
- Both hands, all 16 measures — target 120 BPM with swing.
Expression:
- Swing everything. Jazz lives and dies by the swing feel.
- The melody should be relaxed, conversational — like you are telling someone a story.
- The shell voicings should be quiet — mf for melody, p for LH voicings.
- Add subtle dynamics: slightly louder on the high points of the melody (measures 4-5), softer on the resolution (measures 15-16).
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Blues and Jazz Ear Training
Section titled “Blues and Jazz Ear Training”Exercise 1: Hearing the Blues Scale (3 minutes)
Section titled “Exercise 1: Hearing the Blues Scale (3 minutes)”Play the C blues scale: C Eb F Gb G Bb C. Now play the C major scale: C D E F G A B C.
The blues scale sounds “dark,” “gritty,” and “raw.” The major scale sounds “clean” and “bright.” The blue notes (Eb, Gb, Bb) create the emotional edge.
Close your eyes. Play one scale at random. Can you identify which one? The blues scale has a distinctive character that is unmistakable once you know it.
Exercise 2: Swing vs Straight (3 minutes)
Section titled “Exercise 2: Swing vs Straight (3 minutes)”Play the C major scale as straight 8ths: C D E F G A B C — all even. Now play it as swing 8ths: C---D E---F G---A B---C — long-short pairs.
The difference is subtle but profound. Straight feels “classical” or “pop.” Swing feels “jazz” and “bluesy.”
Play the “Fly Me to the Moon” melody both ways: first straight, then swing. Which sounds right for this song? Swing, obviously.
Exercise 3: 12-Bar Blues Form Recognition (4 minutes)
Section titled “Exercise 3: 12-Bar Blues Form Recognition (4 minutes)”Play through the 12-bar blues in C once with shell voicings (LH only). Notice the form:
- Bars 1-4: Home (C7) — settled
- Bars 5-6: Away (F7) — tension
- Bars 7-8: Home (C7) — relief
- Bar 9: Peak tension (G7)
- Bar 10: Coming back (F7)
- Bars 11-12: Home (C7) — resolution
Now play it again but pause randomly at any bar. Where are you in the form? Can you feel whether you are in the “home” section, the “away” section, or the “tension” section? This form awareness is essential for blues improvisation (coming in Session 18).
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned the 12-bar blues form with I7-IV7-V7 harmony
- Experienced swing feel — the rhythmic foundation of jazz and blues
- Played the C blues scale and your first blues lick
- Built shell voicings for jazz chord playing
- Explored walking bass concepts
- Performed a 12-Bar Blues in C with both hands
- Performed “Fly Me to the Moon” — your first jazz standard with swing
Self-Check Questions
Section titled “Self-Check Questions”- What are the three chords in a 12-bar blues in C? (Give the full chord symbols)
- How does swing feel differ from straight 8ths?
- What notes make up the C blues scale?
- What is a shell voicing? Why is it useful for jazz?
- In “Fly Me to the Moon,” what harmonic motion drives the chord changes? (Hint: circle of…)
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- 12-Bar Blues in C — 15 minutes daily. Both hands. Start with shell voicings (whole notes) in the LH, then try walking bass. Target: both hands at 100 BPM with swing.
- “Fly Me to the Moon” — 10 minutes daily. Focus on swing feel in the melody. Target: both hands at 120 BPM.
- C blues scale — 5 minutes daily. Ascending and descending with swing feel. Also practice the blues lick from the Technique section.
- Shell voicing transitions — 5 minutes daily. C7 → F7 → G7 cycle with smooth voice leading.
- Scale and arpeggio maintenance — 10 minutes daily.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Playing straight instead of swing: This is the biggest jazz mistake. If your 8th notes are even, it is not jazz. Exaggerate the swing at first — make the long-short pattern obvious. You can refine it later.
- Blues scale too fast: The blues scale should be played with feel, not speed. Each note should have weight and intention. Slow, bluesy playing sounds better than fast, mechanical playing.
- Shell voicings too loud: In jazz, the LH chords support the melody. They should be quiet — like a whispered conversation underneath a singing voice.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Jazz Tones
Section titled “Jazz Tones”Your CT-X9000IN offers great jazz tones:
- Jazz Organ — The classic Hammond B3 sound. Perfect for 12-bar blues. The sustained quality lets shell voicings ring.
- Electric Piano (Rhodes/Wurlitzer) — The quintessential jazz keyboard sound. “Fly Me to the Moon” sounds gorgeous on EP.
- Upright Bass (for split mode) — Set up split mode with upright bass in the LH and electric piano in the RH. Now your walking bass sounds like a real bass player.
Swing Rhythm Accompaniment
Section titled “Swing Rhythm Accompaniment”Your CT-X9000IN has rhythm patterns with swing feel:
- Navigate to the rhythm section
- Look for “Swing,” “Jazz,” or “Blues Shuffle” patterns
- Set the tempo to 100 BPM
- Press START
- Play the 12-bar blues over this rhythm pattern — it provides drums and bass, making your blues sound like a full band
Save your Jazz setup:
- Tone: Electric Piano (your preferred variant)
- Rhythm: Swing or Blues Shuffle
- Tempo: 100 BPM