Bird Blues or Parker Blues is one of the most important Chord Progressions if you want to understand bebop. Charlie Parkers reharmonization of the 12 bar form is both an insight in how Bebop players love playing moving chords and also an insight on how reharmonization and chord progressions were going to change after bebop.
In this lesson am going to go over two sets of voicings to play the Parker Blues and also discuss how the progression works compared to a normal 12 bar jazz blues.
Getting to know Bird Blues chords and how they sound
A good place to start if you want to understand a chord progression is to play it. Having heard them and being able to play through the harmony in time makes it a lot easier to have an idea about what is going on.
In the example below I have written out the chords using the method and exercises that I cover in my lesson How to Play Jazz Chords
As an aid in playing the chords I have also included these diagrams:
Analyzing the progression
The Bird Blues or the Parker Blues progression is best understood against the 12 bar blues. This is not strange since it is a reharmonization of that, very well known progression.
The Maj7 chord
The first thing that stands out is that the first chord is a Maj7 chord and not a dom7th. Whenever you play a blues all the main chords in there are dom7th chords, so you would expect an F7.
In fact there are more explanations for this. In earlier jazz than bebop the Blues was played with triads or 6th chords so they were not yet dominant chords. Parker actually will sometimes play the major scale of the tonic on a blues. An example is Cool blues which also does not have a IV in bar 2.
Another plausible explanation was that in bebop it was common to disguise the original progression by changing the chords slightly. Ornithology is an example of this where an Ebmaj7 is turned into an Eb7.
Bebop Back cycling
A defining charateristic of bebop is that the focus is to play the movement of the chords. Bebop is full of chains of chords that don’t stand still and continue to move. The progression in bars 2-4 is an example of this. The original blues progression might have a Cm7 F7 in bar 4. The Dm7 G7 and Eø A7 are just adding a movement to point towards those chords and therefore also point to Bb7.
Chromatic II V Cadences
On the IV chord I have written two chords: Bb7 and Bbmaj7 this is because Blues for Alice, the blue print for this type of progression has a Dom7th there, but two other famous variations: Freight Trane and Bluesette both use maj7 chords on the IV.
The progression from IV to the II in bar 9 is a long row of II V chords descending chromatically.
Moving from IV the song goes to IVm which is a very common tonal progression. In true bebop fashion it here appears as a II V or IVm7 bVII7. And where you would expect a tonic chord you get the II V a half step below: Am7 D7 which is then followed by a II V in Gb: Abm7 Db7.
When playing this it is about descending II V’s and it is more parallel harmony than anything else, how ever you could also interpret it as a reharmonization of IV IVm I bIIIdim:
Bb Bbm F/A Abdim that is reharmonized as Bb Bbm7 Eb7 Am7 D7 Abm7 Db7.
This way of reharmonizing a dim chord to a II V is also what happens in Just Friends.
The final cadence and turnaround
As you can see the final cadence and turnaround does not differ much from a standard blues. On ooccasion the V chord will be replaced with the tritone II V so Dbm7 Gb7 instead of C7. For the rest there is not really anything to talk about.
Bebop Comping: Drop2 voicings
One of the most important voicing types when it comes to bebop is Drop2 voicings. This is true both for piano and guitar. Here under I have written out a basic chorus of drop2 voicings on the Parker Blues that you can work through when comping on this form.
You can of course also check out more on drop2 voicings in my study guide: How to Learn to Play Jazz Chords – Study Guide
Get the PDF!
You can also download the PDF of my examples here:
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