Weeks 1-2: The 12 Bar Blues
1. The Blues: Study the “sound” of the blues—“blue notes,” bends, riffs, motifs;
understand the chord structure and the foundation of the I, IV, and V chords; learn
the melody to a blues; learn about the standard “head”—“solo”—“head”
performance form; write a repeatable blues melody in C or F.
2. The Blues, Bebop, and Beyond: Study recordings of the 12 bar blues in the context
of bebop and beyond; listen to and compare different improvised solos over the
blues; discuss ii-V-I’s and how to extend blues harmony; write another blues in a
different key, playing with less repetition and more fragmentation.

Weeks 3-4: Playing the Blues
3. Blues performance: Choose one of your blues songs and teach it to the class;
perform the blues using the standard “head”—“solo”—“head” performance form;
practice improvising over your blues song (accompanied by the instructor) and
taking turns with other students during the solo section.
4. Study some blues solos as a class; discuss the use of space, rhythm, contour,
repetition, and harmony; discuss more harmonic possibilities as an improviser over
the blues; choose a 15-30 second solo excerpt to transcribe (learn by ear/write
out).

Weeks 5-6: AABA and Rhythm Changes
5. Rhythm Changes: Learn about the importance of tin pan alley/broadway musicals
and the use of AABA and other standard song forms; listen to “I Got Rhythm” and
study the chord structure and use of AABA form; learn the melody to “I Got
Rhythm.” Study bebop-era contrafacts (songs using the same chord changes) of
“rhythm changes”—“Oleo,” “Rhythm-a-ning,” “Dizzy Atmosphere,” etc.; write a
melody using “rhythm changes.”
6. Ballads and other AABA Standards: Study other medium-tempo standards that use
the AABA song form (without “rhythm changes”): “All the Things You Are,”
“Caravan,” “Don’t Get Around Much Anymore,” “Doxy,” etc. Talk about the use of
the ii-V-I in these works. Look at a few ballads (slow songs) that use the AABA
form: “Body and Soul,” “Chelsea Bridge,” and “Misty.” Write a ballad or medium
tempo song using AABA form.

Weeks 7-8: Playing AABA and Rhythm Changes
7. AABA/Rhythm Changes performance: Choose one of your AABA or Rhythm
Changes songs and teach it to the class; perform using the standard “head”—
“solo”—“head” performance form and take turns improvising solos.
8. Study some solos over rhythm changes; study solos over other AABA medium-
tempo songs and ballads; choose a 15-30 second solo excerpt to transcribe.

Weeks 9-10: Arranging for Small Groups
9. Listen to examples of small group arrangements from duets and trios to quartets
and quintets; pay attention to intros, vamps, ensemble “hits,” solis, and outros.
Write an intro to a pre-existing blues or AABA standard, or to one of your originals.
10. Harmonization: Listen to small group recordings with “heads” (melodies) that are
harmonized between 2 to 3 instruments. Touch on some reharmonization and chord
substitution concepts. Write a blues or AABA melody harmonized between 2 to 3
voices.

Weeks 11-12: Small Group Performance
11. Teach, rehearse, and perform one of your song arrangements with members of the
class. Play around with these songs and figure out different groove possibilities as
well as solo orders.
12. Listen to more small group recordings and take notes on things that stick out over
time—create a “timeline” of the recording. Use these notes to refine your
compositions and add any extra intros, outros, harmonizations, or other aspects of
your compositions. Play together as a class and prepare for a concert.