Bird changes
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The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's "Blues for Alice". Toots Thielemans's "Bluesette", "Freight Trane" written by pianist Tommy Flanagan, and Parker's "Confirmation" have similar progressions.
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's "Blues for Alice". Toots Thielemans's "Bluesette", "Freight Trane" written by pianist Tommy Flanagan, and Parker's "Confirmation" have similar progressions. ==Structure== A simple blues progression, in C, is: { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 1 = 50 c1:7 | c:7 | c:7 | c:7 | \break f:7 | f:7 | c:7 | c:7 | \break g:7 | f:7 | c:7 | c:7 \bar "||" } } A typical blues progression in jazz, in C, is: { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 1 = 50 c1:7 | f:7 | c:7 | c:7 | \break f:7 | f:7 | c:7 | e2:m7 a:7 | \break d1:m7 | g:7 | c2:7 a:7 | d:m7 g:7 \bar "||" } } The Bird Blues progression, in C, is: { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 1 = 50 c1:maj7 | b2:m7.5- e:7 | a:m7 d:7 | g:m7 c:7 | \break f1:7 | f2:m7 bes:7 | e:m7 a:7 | es2:m7 aes:7 | \break d1:m7 | g:7 | c2:maj7 a:7 | d:m7 g:7 \bar "||" } } In roman numeral analysis, this is represented by This can be viewed as a cycle of ii–V progressions leading to the IV chord (F 7 in the key of C major), and the tritone substitution of the dominant chords leading by half-step to the V chord (G 7 in C). ==Sources==
Text derived from https://en.wikipedia.org/w/index.php?oldid=1375674156 under CC BY-SA 4.0; modifications have been made.