Part 12: Blues, with the foundations still clear · Lesson 117 / 117
Your final task: explain and change the music
Final application
Today’s one thing
Demonstrate musical independence in a small, honest piece of work.
Choose one complete study from the course: major, natural minor, pentatonic, Dorian, Mixolydian or blues. You do not need the hardest one. Choose a piece whose harmony you can hear and describe.
Strum or outline the backing. Play the lead slowly, then select two bars to annotate in full: note or rest, start time, duration, string and fret, interval from the tonic, and relationship to the current chord. Explain a non-chord tone through its movement or intended colour rather than only its scale membership.
Create a two-bar variation. Keep most of the original intact, changing a destination, rhythm, articulation or register. Compare the versions and state what changed. Transpose a short fragment into a second familiar key as a separate task.
You have finished the written learning path when you can demonstrate these connections, not when you can recite every diagram at speed. Return to any part as needed. All the concepts required for this task remain in the free course; extra practice studies are more opportunities, not withheld explanations.
A concrete example
An adequate final explanation might say: “This C is b3 above tonic A, but over D7 it is the chord's seventh. I hold it for two beats, then rest one beat before the next idea.”
Twelve Bars, Clear Choices
Twelve-bar ending form with straight, explicitly timed subdivisions. The shuffle exercise is separate. Optional bends may replace written C-to-C# approaches only after the target and arrival time are understood.
12 bars · 4/4 · 72 BPM · A blues: minor-blues colour plus chord-specific major thirds · Standard tuning
One four-beat count-in at the beginning. The backing continues through lead rests. The slow version keeps the same pitches. Picked-note demonstrations; technique targets are taught separately.
Bar 1 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
C5Beat 2 · 0.5 beatsString 1, fret 8
C♯5Beat 2 & · 0.5 beatsString 1, fret 9
E4Beat 3 · 1 beatString 2, fret 5
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone outline.
C5, beat 2. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Introduce the blues minor-third colour before its semitone rise to C#.
C♯5, beat 2 &. Degree 3 from A; major third above this chord’s root. Included in the written chord. Resolve that colour into A7’s actual major third.
E4, beat 3. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 2 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
E♭4Beat 2 · 0.5 beatsString 3, fret 8
E4Beat 2 & · 0.5 beatsString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; perfect fourth above this chord’s root. Outside the written chord. Approach the fifth through the 4–b5–5 figure.
E♭4, beat 2. Degree b5 from A; tritone above this chord’s root. Outside the written chord. Use b5 as a brief chromatic connection into E.
E4, beat 2 &. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 3 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C♯4Beat 1 · 1 beatString 3, fret 6
E4Beat 2 · 1 beatString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
A4Beat 4 · 1 beatString 1, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
C♯4, beat 1. Degree 3 from A; major third above this chord’s root. Included in the written chord. State the major third of A7; this is a deliberate chord-tone outline.
E4, beat 2. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
A4, beat 4. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone arrival.
Bar 4 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
E4Beat 1 · 2 beatsString 2, fret 5
C5Beat 3 · 1 beatString 1, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
E4, beat 1. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
C5, beat 3. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Set up a shared C that will become a chord seventh when D7 arrives.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 5 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 2 beatsString 1, fret 8
A4Beat 3 · 1 beatString 1, fret 5
F♯4Beat 4 · 1 beatString 2, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. The same C is now D7’s minor seventh: a chord tone.
A4, beat 3. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
F♯4, beat 4. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone arrival.
Bar 6 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
F♯4Beat 2 · 1 beatString 2, fret 7
A4Beat 3 · 1 beatString 1, fret 5
C5Beat 4 · 1 beatString 1, fret 8
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; root above this chord’s root. Included in the written chord. State the root of D7; this is a deliberate chord-tone outline.
F♯4, beat 2. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone outline.
A4, beat 3. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
C5, beat 4. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of D7; this is a deliberate chord-tone arrival.
Bar 7 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 0.5 beatsString 1, fret 8
C♯5Beat 1 & · 0.5 beatsString 1, fret 9
E4Beat 2 · 1 beatString 2, fret 5
G4Beat 3 · 1 beatString 2, fret 8
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor third above this chord’s root. Outside the written chord. Return to the minor-third blues colour above A7.
C♯5, beat 1 &. Degree 3 from A; major third above this chord’s root. Included in the written chord. Resolve to the major third.
E4, beat 2. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 8 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
G4Beat 2 · 1 beatString 2, fret 8
E4Beat 3 · 2 beatsString 2, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone outline.
G4, beat 2. Degree b7 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of A7; this is a deliberate chord-tone outline.
E4, beat 3. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone arrival.
Bar 9 · E7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
G♯4Beat 1 · 2 beatsString 2, fret 9
B4Beat 3 · 1 beatString 1, fret 7
D4Beat 4 · 1 beatString 3, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from E7’s root. These are two different relationships.
G♯4, beat 1. Degree 7 from A; major third above this chord’s root. Included in the written chord. Target E7’s major third, deliberately outside both six-note A blues palettes taught here.
B4, beat 3. Degree 2 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of E7; this is a deliberate chord-tone outline.
D4, beat 4. Degree 4 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of E7; this is a deliberate chord-tone arrival.
Bar 10 · D7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
F♯4Beat 1 · 1 beatString 2, fret 7
A4Beat 2 · 1 beatString 1, fret 5
C5Beat 3 · 1 beatString 1, fret 8
D4Beat 4 · 1 beatString 3, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D7’s root. These are two different relationships.
F♯4, beat 1. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D7; this is a deliberate chord-tone outline.
A4, beat 2. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D7; this is a deliberate chord-tone outline.
C5, beat 3. Degree b3 from A; minor seventh above this chord’s root. Included in the written chord. State the minor seventh of D7; this is a deliberate chord-tone outline.
D4, beat 4. Degree 4 from A; root above this chord’s root. Included in the written chord. State the root of D7; this is a deliberate chord-tone arrival.
Bar 11 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
E♭4Beat 2 · 0.5 beatsString 3, fret 8
E4Beat 2 & · 0.5 beatsString 2, fret 5
C♯4Beat 3 · 1 beatString 3, fret 6
A3Beat 4 · 1 beatString 4, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; perfect fourth above this chord’s root. Outside the written chord. Begin another fourth-to-fifth approach.
E♭4, beat 2. Degree b5 from A; tritone above this chord’s root. Outside the written chord. Pass chromatically towards E with a half-beat duration.
E4, beat 2 &. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of A7; this is a deliberate chord-tone outline.
C♯4, beat 3. Degree 3 from A; major third above this chord’s root. Included in the written chord. State the major third of A7; this is a deliberate chord-tone outline.
A3, beat 4. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of A7; this is a deliberate chord-tone arrival.
Bar 12 · A7
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 3 beatsString 1, fret 5
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from A7’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. Hold the tonic over the tonic chord for a clear ending.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Try it, slowly
Choose and play one study at a comfortable tempo.
Annotate two bars, checking the answer table afterwards.
Write a two-bar variation and explain one decision.
Transpose a small fragment separately, verifying the new notes.
Check one idea
What is the difference between finishing this course and memorising all its solos?
Show the explanation
Finishing means being able to inspect, explain, modify and transfer musical ideas. Memorised performances alone do not demonstrate those connections, while a slow but well-understood example can.
A good place to stop
You can connect what you play, hear and understand, and can describe a small musical choice of your own.
Return to the example after a short break. A clear explanation matters more than speed.
