Definition
The Bird blues (or Bird changes, "Swedish blues") is the 12-bar blues form reharmonized by Charlie Parker in the tune Blues for Alice (recorded in 1951). It keeps the structural points of the blues (IV at bar 5, ii–V at bars 9–10, return to I at bar 11), but fills everything in with chains of descending ii–Vs.
The form in F
| Bar | Chords | Degrees |
|---|---|---|
| 1 | Fmaj7 | Imaj7 |
| 2 | Eø7 A7 | viiø7 – III7 (ii–V of vi) |
| 3 | Dm7 G7 | vi7 – II7 (ii–V of v) |
| 4 | Cm7 F7 | v7 – I7 (ii–V of IV) |
| 5 | Bb7 | IV7 |
| 6 | Bbm7 Eb7 | ivm7 – bVII7 |
| 7 | Am7 D7 | iii7 – VI7 |
| 8 | Abm7 Db7 | biii7 – bVI7 |
| 9 | Gm7 | ii7 |
| 10 | C7 | V7 |
| 11 | Fmaj7 D7 | Imaj7 – VI7 |
| 12 | Gm7 C7 | ii7 – V7 |
How it works
- Bars 2–4: from the Fmaj7 a chain of ii–Vs starts that descends by whole steps (Eø7 A7 → Dm7 G7 → Cm7 F7), arriving at Bb7 in bar 5, that is, the IV of the blues. It is the same design as Confirmation.
- Bar 6: Bbm7 – Eb7 is both the minor IV (minor subdominant) and a "backdoor" ii–V toward F.
- Bars 7–8: Am7 D7 → Abm7 Db7 → Gm7 C7: ii–Vs that descend by half step. Abm7 – Db7 is the ii–V of Gm7 – C7 (bars 9–10) "shifted" a half step above: a chromatic approach by planing, and at the same time Db7 anticipates the subV of C7. The ear follows the guide tones, which descend by half step (Abm7: Cb – Gb; Db7: F – Cb; Gm7: Bb – F).
- Bars 9–12: traditional ii–V and turnaround.
Related tunes
Blues for Alice (Parker), and with similar progressions Bluesette (Toots Thielemans), Freight Trane (Tommy Flanagan), Confirmation (Parker, which however is a 32-bar AABA).
How to improvise
- Think in temporary centers: bars 2–3 in D minor, 3–4 in C/F, 6 in Eb/F, 7 in G, 8 in Gb.
- Use guide tones: Fmaj7 (A – E) → Eø7 (G – D) → A7 (C# – G) → Dm7 (F – C) → G7 (B – F) → Cm7 (Eb – Bb) → F7 (A – Eb) → Bb7 (D – Ab). The lines descend by half step.
- Alternate bebop phrases on the ii–Vs and blues phrases (pentatonic and F blues scale) on bars 1, 5, 11.
Comping
With so many chords, use 3- or 4-note voicings with minimal movement (drop 2 or "rootless" Bill Evans style). Example bars 2–4 (right hand): Eø7 = D G Bb; A7 = C# G Bb (b9 optional); Dm7 = C F A; G7 = B F A; Cm7 = Bb Eb G; F7 = A Eb G.
Exercise for the producer
- Program the form at 150 BPM with walking bass on the roots and chromatic approaches.
- Play only the thirds and sevenths with an electric piano: listen to the double chromatic line.
- Compose a 12-bar head with a 2-note motif that moves along the guide tones.
Related topics
The jazz blues, related ii–V, extended tritone substitution, backdoor progression, jazz harmonic analysis.