The document provides instruction on learning jazz improvisation through an F blues scale. It covers major, mixolydian, and bebop scales in F, Bb, and C. It teaches the I7, IV7, and V7 chords and the 12 bar blues progression. Students practice call and response, trading solos, and soloing over blues changes to develop improvisation skills. Homework assigns solo practice over blues changes.

1. Group 20
MUSI 6031
Introduction to Jazz Improvisation
through the F Blues
Created by: Sarah Butler, Sanford Jones,
Caitlin Curran, Wilber Ibarra, Chris Sakowski, and
Daniel Sandt

2. Major Scales
• Scale 1: Learn your root scale
• Play the F Major Scale in your Jazz Warm-
Up Packet
• Scale 1: F Major Scale
(mouse over the audio icon to play the file)
• Be sure to observe articulation in your
music!

3. Major Scales
• Scale 2: Learn your subdominant scale.
What’s the fourth note in F major? That’s
the starting note of our next scale.
• Play the Bb Major Scale in your Jazz
Warm-Up Packet.
• Scale 2: Bb Major Audio

4. Major Scales
• Scale 3: Learn your dominant scale.
What’s the fifth note of F major? That’s
the note the dominant scale starts on.
• Play the C Major Scale in your Jazz Warm-
Up Packet
• Scale 3: C Major Audio

5. Mixolydian Scales
• These are the scales that blues chords are
based on.
• Similar to major – but has a flat 7th. Start
with Tonic.
• Play the F Mixolydian Scale in your Jazz
Warm-Up Packet
• Scale 4: F Mixolydian

6. Mixolydian Scales
• Now we’ll learn the Subdominant
Mixolydian
• Play the Bb Mixolydian Scale in your Jazz
Warm-Up Packet
• Scale 5: Bb Mixolydian

7. Mixolydian Scales
• Finally, the Dominant Mixolydian
• Play the C Mixolydian Scale in your Jazz
Warm-Up Packet
• Scale 6: C Mixolydian

8. Building Chords
• The blues is made up of a series of
chords. The chords we will use include
the 1st, 3rd, 5th, and 7th note of each of
the Mixolydian Scales.
• Build the chord for F Mixolydian by
stacking the four notes (1, 3, 5 and 7) on
top of each other.

9. Chords for Alto/Bari Saxes
I7 IV7 V7

10. Chords for Tenor/Trumpet
I7 IV7 V7

11. Chords for Bass/Piano/Trombone
I7 IV7 V7

12. The 12 bar blues
• Now that we know the scales and chords
of a blues, we need to know what order
the chords move in. The form is as
follows, with each chord getting one
measure:
• I, IV, I, I
• IV, IV, I, I
• V, V, I, I

13. 12 bar Blues for Alto/Bari
Saxes

14. 12 Bar Blues for
Tenor/Trumpets

15. 12 Bar Blues for
Bass/Piano/Trombones

16. Hearing the Form
• We’re going to listen through a blues
progression, and I want you to follow
along in your music and sing the roots of
the chords.
• “Ooooone, Fouuuur, Ooooone, Oooone”
• “Fouuuur, Fouuuur, Ooooone, Oooone”
• “Fiiiiiiiive, Fiiiiiive, Oooone, Oooone”
• F Blues Changes (4x)

17. Bebop Scales
• The next scale to learn is the Bebop
Scales. These are a combination of both
the Major and Mixolydian Scales because
it includes both the Major 7th and the
Minor 7th.

18. Bebop Scales
• Tonic Bebop Scale
• Play the F Bebop Scale in your Jazz
Warm-Up Packet
• Scale 7: F Bebop Scale

19. Bebop Scales
• Subdominant Bebop Scale
• Play the Bb Bebop Scale in your Jazz
Warm-Up Packet
• Scale 8: Bb Bebop Scale

20. Bebop Scales
• Dominant Bebop Scale
• Play the C Bebop Scale in your Jazz
Warm-Up Packet
• Scale 9: C Bebop Scale

21. Scales over changes
• We’re going to play an F Blues
progression. With each chord, play the
bebop scale associated with it.
• Play the Bebop Scale Exercise in your Jazz
Warm-Up Packet
Trumpets and tenors first two chords:
Bebop Scale Exercise:

22. Group Goof-Off
• Now give it a shot! Using the notes from
those scales, just play anything you want!
Everybody play a solo at the same time.
We’re going to play the changes of an F
Blues four times, and just experiment
and have fun! Don’t worry about
mistakes – nobody can hear you 
• F Blues Changes (4x)

23. Section Goof-off
• Now, each section of the band is going to
take a chorus.
• Saxes
• Trombones
• Trumpets
• Rhythm
F Blues Changes (4x):

24. Individual Goof-Off
• Anyone who feels ready to try it on their
own – let’s see it! At this point you do
not have to, but if you’d like to, here’s a
chance to practice.
F Blues Changes (4x)

25. Call and response
• Listen carefully to the recording. It’s
going to play a one measure lick – you
echo it back on your instrument in the
next measure.
Melodic Fragment 1:
Melodic Fragment 2:
Melodic Fragment 3:

26. 3rds and 7ths
• The relationship between the 3rd and the
7th scale degrees in these chords makes it
easy to transition between chords
without jumping around on the
instrument.
• Turn to page
• 3rd to 7th: 7th to 3rd:

27. What makes a good solo?
- Great Tone Quality
- Confidence
- Space
- Contrast (slow notes and fast notes)
- Stepwise motion
- Intentionality in rhythm and notes
(Refer to resources at the end for examples
of solos on every instrument)

28. What makes a good solo?
• Solos are not 100% made up on the spot
• Use licks you’ve heard (in the right key).
• Use your laboratory (practice room).
• Think about the line of the melody, rhythm, and
dynamics. Have it build up to an exciting finale!
• There are no wrong notes. If you play
something you don’t like, move a half step up or
down – or play the same note again, LOUDER!

29. Trading 4’s
• Often times in jazz, we have two people
solo together and take turns. This is
called “Trading 4’s.” One person takes 4
measures of a solo, then the next person
takes the next 4 measures and they trade
back and fourth over the course of two
(or more) choruses.

30. Practice Trading
• Now we’re going to pair off within the
room and you’re going to trade 4’s with a
partner. We’ll go through four choruses.
Listen to what they play and respond.
• Repeat their last section & add to it
• Think question and answer
Wilber Blues Melody:
F Blues (4x):

31. Be a brave soul
• Everyone is going to take a solo by
themselves. We’re going to play “Wilber
Blues” and in between chorus’s, people
are going to take solo’s. Everyone will
take one either today or tomorrow –
including rhythm section!
• No matter what happens – we will clap
for you and be proud of you.
Wilber Blues (1x Melody):
F Blues Changes (4x):

32. Homework
• In your e-mail inbox is the recording of
the changes for an F blues (repeated 4
times). Take that recording into the
laboratory, and practice soloing. Within
the next week, you either need to set an
appointment with me outside of class to
play a solo, or record a video on your
phone of you soloing and e-mail it to me.

33. Moving forward
• Once you feel like you’re ready for the next
steps, here’s what you can work toward:
• Adding a ii, V, I progression at the end of an F
blues
• Learn to play the scales and chords of the
blues in other common keys (Bb, Eb, Ab)
• Learning different forms of jazz (Minor Blues,
Rhythm Changes, Samba, and more!)

34. Resources
• Flute - Eric Dolphy - "Inner Flight"
• Clarinet - Albert Burbank - “Burgundy Street Blues”
• Saxophone - Charlie Parker - “All the Things You Are”
• Trumpet - Miles Davis - “So What”
• Trombone - J.J. Johnson - “Like Someone in Love”
• Guitar - Wes Montgomery - “Round Midnight”
• Piano - Thelonius Monk - “Don’t Blame Me”
• Drum set - Buddy Rich - “Bugle Call Rag (live 1982)”
• Bass - Charles Mingus - “Goodbye Pork Pie Hat”