Modern Blues in G
Improv by S. Farinoli

In this blues improv, some typical characteristics of the modern blues language are developed, both in the scales used, and in the rhythmic development of the solo. The sequence of the harmonic base is typical of 12 bar blues, played with a rhythmic shuffle. Consequently it would be best to also interpret the octave as eighth note tercets, as indicated at the beginning of the score.
First we will analyze the rhythmics of accompaniment. There are two base midi files that you can download and work with. In the first, the velocity is quite slow, so you can work on the solo in question. In the second you can play the song at its original speed and develop your own ideas, because the base is continuously repeated, which in musical terms is called the chorus. Lets look at the progression of chords.

As you can see, the progression of chords is done on the classical three chords in the dominant 7th, where the tonal center of the song is G. At this point we can analyze the various parts that make up the improvisation. The analysis is done bar by bar, while the complete score is found on the next page.

Bar 1
On the G7 chord you play an arpeggio of Gm7, with slight bending on the first note (Bb). This is a classical example of a blues note: in fact one often toys with the micro tones that separate the two third degrees of the chord (Bb, 3rd minor and B, 3rd major). In this case, the bending doesn't quite reach the B note, but to about half way between Bb and B.

Bar 2
The first five notes, anticipated by the F of the previous bar, are in the pentatonic of C minor, which concludes by bringing the 3rd minor (Eb) to major (E). Both the notes are harmonized one fifth below, which gives us Bb and E, the 7th minor and 3rd major of C7 respectively. The pentatonic blues of G, with the aumented fourth (C#), is found in the last four notes of the bar.

Bar 3
Returning to the G7 chord, we see the use of the B as the 3rd major. The phrase then finishes in pentatonic minor.

Bar 4
Notice how the pairs of notes again brings Bb to B, both played with the F pedal note on the second string.

Bar 5
Developed on the arpeggio of the C7 chord, very similar to a major pentatonic with the 7th minor (the Bb). Pay attention to the double final notes. This is played with the little finger on the first string while the ring finger slightly raises the intonation of the second string and then returns to position.

Bars 6 and 7
After the two pairs of notes on the first two strings, which finish the previous phrase in the C7 chord, a scaling of finger skipping built on the pentatonic of G minor, which concludes with G7. Pay attention to the Bb of the fourth string: you can perform a false bending, in order to create the classical intermediary tension between the 3rd minor and 3rd major, to then resolve on the G note.

Bar 8
This phrase which begins on the last C of the previous bar is based on a country sequence. In fact you can see the use of open strings in order to double some notes (the two G's of the first tercet and the two D's of the second). The phrase concludes with the normal Bb and G. The following phrase has a melody in D7 and consists of supporting the F# note (3rd major of D7), first from the upper G and then from the lower F.

Bar 9
After the development in pentatonic major, identified by the previous F# note and by the B in the first movement, an arpeggio is again used on the m7 chord, creating a situation similar to that seen in the first bar, but this time developed in D7.

Bar 10
I begin with a classical clichè in major, obtained by raising the A note (6th of C) up to Bb (7th minor), with everything supported by the fixed E note. Next is an uncommon blues scaling, developed on the pentatonic minor of G.

Bars 11 and 12
When you get to G7, we can conclude with a clichè created by an opposite movement of notes that with different octaves descend (to the fifth string) and ascend (to the third) to their respective D finals.

In the following page you can look at a complete score, in order to read and study it. Have fun.

Slow speed base

Normal speed base

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