"Sue Foley demonstrates strategies to revitalize your 12-bar blues, instruments that work effectively in both enhancing rhythm sections and within solo improvisation."
In the realm of blues music, the 12-bar shuffle in E is a timeless and captivating progression. To add depth and complexity to this classic structure, let's explore Sue Foley's methods for weaving chromaticism around the IV chord, A7.
1. **Chromatic Ascending Approach to A7:** Start by employing a chromatic walk-up on the G string, targeting the major third (C#) of the A7 chord. This creates a tension-building sequence that outlines the chord tone (C#) before resolving to the strong flavour of the dominant chord, G, on the B string.
2. **Complementary Chromatic Descending Line:** After ascending to C#, implement a "walk down" chromatic phrase on the high E string, such as B - Bb - A, ending on the A root note. This descending sequence offers a smooth chromatic contour that embraces the bluesy feel while resolving to the target chord tone on the downbeat.
3. **Use of Pedal Tones and Chromatic Enclosure:** Begin phrases over an open A pedal tone to create a drone effect while playing chromatic notes from the E blues scale with an added F# (the 6th of A or 9th of E). This chromaticism around the scale tones provides a vivid, colourful tension-release pattern that enriches the solo.
4. **Two-Note “6th” Shape and Slide Techniques:** Integrate slides into double stops, such as the two-note shape of B and G# (sixth interval) before resolving into the A7 changes. This slide-to-interval method adds expressive phrasing that complements the chromatic movement around the IV chord.
5. **Combining Chromaticism with Core Chord Tones:** Focus on emphasizing the key chord tones of A7 during your chromatic runs—primarily the major 3rd (C#) and the minor 7th (G)—as these notes clearly define the A7 sound within the blues structure. Chromatic notes serve as passing tones to lead into or out of these chord tones, creating melodic interest without losing harmonic clarity.
By applying these licks and phrases, you essentially create a conversation between chromatic passing tones and chord-defining notes that capture the blues shuffle's groove and harmonic complexity around the IV chord (A7) in the 12-bar progression in E.
**Summary Table:**
| Technique | Notes/Shapes | Description/Effect | |---------------------------------|---------------------------------|--------------------------------------------------| | Chromatic Ascending G string | B - C - C# | Targets A7 major 3rd, builds tension | | High E string chromatic descent | B - Bb - A | Resolves to A root, bluesy chromatic walk-down | | Open A pedal + E blues + F# | E, G, A, Bb, B, D + F# | Chromatic embellishment around scale tones | | Two-note slide “6th” shape | B and G# | Expressive double stop slide before A7 | | Emphasis on chord tones C# & G | Major 3rd and minor 7th of A7 | Anchors lick to the harmony through chromaticism |
These elements are derived and expanded upon specifically from the analysis of Sue Foley’s 12-bar blues shuffle demonstrations, particularly illustrated in figures 1-5 of the referenced lessons. The focus is on navigating the change from the I (one) chord, E7, to the IV (four), A7, and back. Figure 4 presents a "Texas blues shuffle"-type phrase played over the last four bars of the progression, starting from the V chord, B7. These notes (B-C-C#-G) strongly and clearly describe the A7 chord in this context.
- To nail Sue Foley's method of chromaticism in blues music, start by performing a chromatic ascending approach on the G string, targeting the major third (C#) of the A7 chord.
- After ascending to C#, execute a complementary descending line on the high E string, such as B - Bb - A, ending on the A root note to create a smooth chromatic contour that maintains a bluesy feel.
- To infuse color and tension into your solos, use pedal tones and chromatic enclosure by playing chromatic notes from the E blues scale with an added F# (the 6th of A or 9th of E) over an open A pedal tone.
- To add expressive phrasing to double stops, integrate slides into two-note shapes like B and G# (sixth interval), before resolving into the A7 changes.
