en Bird changes

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",^[1] Freight Trane written by pianist Tommy Flanagan, and Parker's "Confirmation"^[2] also have similar progressions.

Structure

A simple blues progression, in C, is as follows:

${ \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 1 = 60 c1:7 | c:7 | c:7 | c:7 | \break f:7 | f:7 | c:7 | c:7 | \break g:7 | f:7 | c:7 | c:7 \bar "||" } }$

A typical blues progression in jazz, in C, is as follows:^[3]

${ \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 1 = 60 c1:7 | f:7 | c:7 | c:7 | \break f:7 | f:7 | c:7 | e2:m7 a:7 | \break d1:m7 | g:7 | c2:7 a:7 | d:m7 g:7 \bar "||" } }$

The Bird Blues progression, in C, is as follows:^[4]

${ \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.break-visibility = ##(#f #f #f) \set Score.tempoHideNote = ##t \tempo 2 = 60 c1:maj7 | b2:m7.5- e:7 | a:m7 d:7 | g:m7 c:7 | \break f1:7 | f2:m7 bes:7 | e:m7 a:7 | es2:m7 aes:7 | \break d1:m7 | g:7 | c2:maj7 a:7 | d:m7 g:7 \bar "||" } }$

In roman numeral analysis, this is represented by

I^M7	vii^ø⁷ III⁷	vi⁷ II⁷	v⁷ I⁷
IV⁷	iv⁷ ♭VII⁷	iii⁷ VI⁷	♭iii⁷ ♭VI⁷
ii⁷	V⁷	I^M7 VI⁷	ii⁷ V⁷

This can be viewed as a cycle of ii–V progressions leading to the IV chord (F⁷ in the key of C major), and the tritone substitution of the dominant chords leading by half-step to the V chord (G⁷ in C).^[4]

C:	Am:	G(m):	F:
I^M7	ii^ø⁷ V⁷	ii⁷ V⁷	ii⁷ V⁷
F:	E♭:	D:	D♭(m):
I⁷	^subii⁷ ^subV⁷	^subii⁷ ^subV⁷	^subii⁷ ^subV⁷
C:
ii⁷	V⁷	I^M7 VI⁷	ii⁷ V⁷

Sources

^ Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p.182. ISBN 0-7866-7236-6.
^ Umble, Jay (2011). Mbgu Jazz Curriculum: Payin Your Dues with the Blues, p. 62. ISBN 9781610653145.
^ Jacobs, Sid (2011). The Changes, p. 12. ISBN 9781610651684.
^ ^a ^b Baerman, Noah (1998). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, p. 63. ISBN 0-88284-911-5.

[1] Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p.182. ISBN 0-7866-7236-6.

[2] Umble, Jay (2011). Mbgu Jazz Curriculum: Payin Your Dues with the Blues, p. 62. ISBN 9781610653145.

[3] Jacobs, Sid (2011). The Changes, p. 12. ISBN 9781610651684.

[Keyboard-4] Baerman, Noah (1998). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, p. 63. ISBN 0-88284-911-5.

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