All Blues
by Miles Davis
Album: Kind of Blue
Released: 1959
Genre: Jazz
Difficulty Analysis
Overall
IntermediateRhythm
IntermediateLead
AdvancedBass
AdvancedMusical Analysis
Key & Tonality
Song Structure
Understanding G Mixolydian / G dominant:
G Mixolydian / G dominant has a darker, more introspective character. The Mixolydian (Dominant 7th center) with blues inflections mode creates tension and emotion. This key is perfect for expressing melancholy or aggressive themes in rock music.
Pro Tip: Practice the scales and chord progressions in this key to internalize its unique character and improve your improvisation.
Primary Chords Used
Scale Patterns in G Mixolydian / G dominant
G Mixolydian
Notes: G - A - B - C - D - E - F - G
Application: Primary scale for the G7 chord sections; defines the tonal center with the flat 7th (F natural)
Fretboard Pattern
Chord Progressions
Main Progression
A 12-bar blues variation in 6/4 time using dominant 7th chords throughout, with the distinctive chromatic turnaround using D7#9 to Eb7#9 and back
Theory Insight:
This progression creates a specific harmonic movement that defines the song's emotional character. Understanding the relationship between these chords helps in improvisation and songwriting.
Chord Shapes Used:
G7
C7
D7#9
Eb7#9
Harmonic Functions:
- G7 (I7):Tonic dominant chord; the Mixolydian home base creates a suspended, floating quality
- C7 (IV7):Subdominant providing classic blues movement away from the tonic
- D7#9 (V7#9):Dominant chord with the Hendrix chord quality creating strong pull to resolve
Key Techniques
Jazz Comping with Dominant 7th Voicings
IntermediateAccompanying the ensemble using compact dominant 7th chord voicings with rhythmic variation, providing harmonic support while leaving space for soloists
Uses chords:
See chord diagrams in the Chord Reference section above
Progression:
12-bar blues in G (6/4 time)
Tips:
- • Less is more - jazz comping leaves generous space for the soloist
- • Use a clean or very lightly overdriven tone for warmth
- • Practice the 12-bar form until you can follow it without thinking
- • Listen to Freddie Green or Jim Hall for jazz comping style references
- • Swing the eighth notes: long-short feel rather than even eighths
Chord Extensions and Alterations
AdvancedUsing extended and altered chord tones (9ths, 13ths, #9) to create sophisticated jazz harmony beyond basic triads and seventh chords
Uses chords:
See chord diagrams in the Chord Reference section above
Progression:
Extended voicings over the 12-bar form
Tips:
- • Learn multiple voicings for each chord at different neck positions
- • Prioritize smooth voice leading - move as few notes as possible between chords
- • The #9 voicing is the defining sound of this turnaround - master it
- • Practice switching between G7, G9, and G13 voicings to add variety
- • Keep your voicings in the middle register to blend with the ensemble
6/4 Swing Feel
IntermediateInternalizing the 6/4 time signature with a jazz swing feel, which gives All Blues its distinctive waltz-like groove distinctly different from standard 4/4 blues
Progression:
Applies to the entire song form
Tips:
- • Donthe iconic vocal hookstrange' - just feel the waltz groove
- • Listen to the original recording repeatedly to absorb the feel
- • Practice with a slow metronome set to dotted half notes (2 clicks per bar)
- • The bass walks in a 6/4 pattern - use it as your rhythmic anchor
- • Relax into the groove rather than counting rigidly
Practice Exercises
Scale and technique exercises in the key of G Mixolydian / G dominant. Practice these patterns to build the skills needed for this song.
Intro/Vamp
0:00-0:35Major Pentatonic Scale Exercise
Piano and bass establish the 6/4 groove with the signature two-note riff (G and Ab oscillation) before the head melody enters. Guitar should comp lightly or lay out.
Major Pentatonic Scale Exercise
- • The opening vamp is primarily piano and bass - guitar can lay out
- • If comping, use sparse G7 voicings on beats 4-6 only
- • The G-Ab auxiliary note figure in the bass defines the piece
Head (Theme)
0:35-2:00Major Pentatonic Scale Exercise
The melody (head) is played by Miles Davis on trumpet. Guitar provides supportive comping using the 12-bar form with sparse, rhythmically varied voicings.
Major Pentatonic Scale Exercise
- • Support the trumpet melody with light comping
- • Follow the 12-bar form precisely
- • The turnaround (D7#9 - Eb7#9 - D7#9) is the harmonic highlight
Solo Section (Miles Davis)
2:00-4:30Major Pentatonic Scale Exercise
Miles Davis solos over the form. Guitar maintains light, supportive comping, following the harmonic form and responding to the soloist's phrasing.
Major Pentatonic Scale Exercise
- • Comp responsively - react to what the soloist plays
- • Leave plenty of space between chord hits
- • Vary your voicings and rhythms each chorus to keep it fresh
Solo Section (Cannonball Adderley / Coltrane)
4:30-8:00Chord Voicing Exercise
Saxophone solos over the form. This section presents opportunity for more adventurous comping, using extended voicings and varied rhythmic patterns.
Chord Voicing Exercise
- • Use more adventurous voicings as the energy builds through solos
- • Extended chords (9ths, 13ths) add harmonic interest during longer solo sections
- • Balance increased harmonic activity with continued restraint
Head Out (Final Theme)
9:30-10:45Major Pentatonic Scale Exercise
Return of the head melody to close the performance. Comping returns to the restrained approach of the opening head.
Major Pentatonic Scale Exercise
- • Return to the sparse comping style of the opening head
- • Match the dynamic of the ensemble winding down
- • The turnaround chords should be played with finality
Outro/Vamp
10:45-11:33Major Pentatonic Scale Exercise
Return to the opening vamp figure, gradually fading as the ensemble winds down the performance.
Major Pentatonic Scale Exercise
- • Return to the two-note vamp figure from the intro
- • Gradually reduce comping as the piece fades
- • Match the ensemble's diminuendo
Equipment & Tone
Guitar
Pickup Type:
Neck humbucker for warm, round jazz tone with rolled-off treble
Alternatives:
- • Gibson ES-175
- • Epiphone Emperor
- • Ibanez AF95 or AG75
- • Any semi-hollow or hollow-body with warm pickups
Amplifier
Recommended:
Settings:
Gain: 2-3 (completely clean, no breakup)
Treble: 4 (rolled off for warm tone)
Middle: 6 (present mids for body)
Bass: 5 (balanced, not boomy)
Presence: 3-4 (soft, round attack)
Alternatives:
- • Polytone Mini Brute (classic jazz amp)
- • Roland JC-120 Jazz Chorus
- • Fender Deluxe Reverb
- • Henriksen JazzAmp
Effects
Distortion:
None - completely clean tone
Reverb:
Light spring or room reverb for natural ambience
Other:
No effects needed; pure clean tone is the jazz standard
Learning Path
Time Estimate: 2-4 weeks for basic form familiarity
- • Learn open G7 and C7 chord voicings
- • Understand the 12-bar blues form structure
- • Practice counting in 6/4 time (1-2-3-4-5-6)
- • Strum through the form slowly with basic voicings
- • Listen to the original recording repeatedly to absorb the feel
Time Estimate: 4-8 weeks for solid comping ability
- • Learn D7#9 and Eb7#9 chord voicings (Hendrix chord shapes)
- • Practice the chromatic turnaround slide between D7#9 and Eb7#9
- • Develop a swing feel in 6/4 time with syncopated comping
- • Learn multiple voicings for G7 and C7 across the neck
- • Practice comping along with the recording following the form
Time Estimate: 2-4 months for performance-ready comping and soloing
- • Use 9th, 13th, and altered voicings for harmonic variety
- • Develop responsive comping that reacts to the soloist
- • Begin improvising melodies over the 12-bar form using Mixolydian and blues scales
- • Practice with a metronome and backing tracks at various tempos
- • Perform with other musicians in a jazz combo setting
Practice Notes
Common Mistakes
- • Overplaying - comping too frequently and not leaving space for the soloist
- • Playing in 4/4 feel instead of the correct 6/4 waltz-like groove
- • Using rock-style power chords instead of jazz 7th chord voicings
- • Swinging too aggressively or not swinging at all (playing straight eighths)
- • Losing track of the 12-bar form during extended solo sections
Practice Routine
- • Warm up with dominant 7th chord voicings in multiple positions for 5 minutes
- • Count through the 12-bar form in 6/4 while tapping the swing groove
- • Practice the turnaround (D7#9 - Eb7#9 - D7#9 - G7) as an isolated loop
- • Comp through the entire form with the recording for at least 3 full cycles
- • Practice improvising a simple melody using the G Mixolydian and G blues scales
Focus Areas
- • Internalizing the 6/4 time feel with swing
- • Smooth voice leading between chord changes
- • The D7#9 to Eb7#9 chromatic turnaround voicing
- • Dynamic and rhythmic variety in comping
- • Knowing the 12-bar form automatically without counting bars
Metronome Work
- • Set metronome to dotted half notes for 2 beats per 6/4 measure (about 46 BPM per click)
- • Practice comping on offbeats while metronome clicks on 1 and 4
- • Gradually increase from 100 BPM to 138 BPM in quarter notes
- • Practice the form with just beats 1 and 4 sounding to test independence
- • Use a swing-eighth metronome setting if available for authentic feel