I sometimes feel very demanding as an online student of yours. But my heart aches to play certain blues a certain way… I am doing Dritin Blues in F. And it sounds awesome for now.
I recently requested: Everyday I have the Blues in Bb, and you have indicated that you will accomodate me.
I have one more for you, and I promise to leave you alone , at least for a while.
For the Blues in "G " Can you please teach this arrangement of Stormy Monday? It’s the best arrangement that I have ever heard. And it has all the gospely blues bells and whistles. Please:
Thanks for sharing the video and yes I can certainly break down some of the elements here.
I have transcribed some of the melodic ideas from Ray Charles’ “Everyday I have the Blues in Bb” and applied the same ideas to the slow blues in F. I’m working on these improv-focused lessons this week.
Please feel free to share any other videos or recordings that you like and I will be sure to incorporate the ideas into the new blues lessons where possible.
I’ve added the turnaround module to the new slow blues course and a couple of lessons on space fillers.
That’s a Great course in F blues, would love similar Jazz Blues lesson made for ‘That’s Life’ with same in depth look at licks & Harmony of the Sinatra Arr.
Hi Hayden, sorry for delay, been sick only getting back to studying again now. l like the feel of James Brown’s version.
If possible to use the tune as a vehicle for a Jazz Blues style improv like enclosures, nailing the changes & learning licks, in G (Sinatra Key)
Was also interested as to whether you would include the F#-7B5 chord after G, or, go straight to the B7 ,after G.
I had different sheet music arr. & some had that chord ,some didn’t, that’s what put me off tackling it myself at the time as I had no Jazz player to ask. I never knew what was in the original I couldn’t hear the F# being spelled out. Just curious.
Okay yes let’s cover it in both G and C so that it’s clear how to transpose the same melodic ideas to different keys.
Both would work.
Moving straight to B7 could create more of a raw blues style, and adding the additional ii-V … F#-b5 and B7 makes the harmony a little more sophisticated.
I can demonstrate how to do both… as it’s always good to have options!
Leave this with me and I will record the first lessons this month.