Performing and composing ideas
Here are the common techniques and musical devices from the blues and jazz styles. Think of ways how they can be transferred to performance and composition tasks.
| In performance | In composing | |
| 12-bar blues structure | Although a 12-bar blues follows a set structure and is likely to only contain three chords, do not take the rules for granted as there can be substitution chords and break points. | The 12-bar blues chord progression can be used as a basis for a composition using chords I, IV and V in any key. |
| Blues scale | Improvisatory solos can be built around the blues scale. | The notes of the blues scale can be used to compose a melody. |
| Syncopation | If the rhythm is difficult, break the phrase into individual bars or beats and practise each of the difficult cells. | Syncopation can be used to create variety and complex rhythms. |
| Call and response | Practise with a partner by repeating phrases after one another. Develop this by adding ornamentation or variation. | If writing for an ensemble, remember to pass round a melody between the instruments and think of ways how a short melody can be answered, eg a trumpet could play an ascending staccato major arpeggio and then a trombone could answer with a slurred descending minor arpeggio. |
| 12-bar blues structure | |
| In performance | Although a 12-bar blues follows a set structure and is likely to only contain three chords, do not take the rules for granted as there can be substitution chords and break points. |
| In composing | The 12-bar blues chord progression can be used as a basis for a composition using chords I, IV and V in any key. |
| Blues scale | |
| In performance | Improvisatory solos can be built around the blues scale. |
| In composing | The notes of the blues scale can be used to compose a melody. |
| Syncopation | |
| In performance | If the rhythm is difficult, break the phrase into individual bars or beats and practise each of the difficult cells. |
| In composing | Syncopation can be used to create variety and complex rhythms. |
| Call and response | |
| In performance | Practise with a partner by repeating phrases after one another. Develop this by adding ornamentation or variation. |
| In composing | If writing for an ensemble, remember to pass round a melody between the instruments and think of ways how a short melody can be answered, eg a trumpet could play an ascending staccato major arpeggio and then a trombone could answer with a slurred descending minor arpeggio. |