This Could Be Blues – Bertha Hope

A well-titled song, particularly with regard to the harmonic progression. Though the melody repeats a simple, singsong blues-scale riff, it is harmonized with an intricate variant of blues changes, with two chords per measure nearly throughout. These chords include many side-slips and passing chords as well as more unpredictable movement, never returning to a tonic F chord in either the 7th or 11th measure. The last two measures repeat a rhythmic phrase on D♭7 and E♭7, with contrary motion in call and response between the bass and melody. In fact the rest of the head has a call and response format: the main melody riff is answered by a drum fill over the chords. On the recording, drummer Jimmy Cobb fills with brushes, over bass double-stops only; the piano could also join the bass here. Solos are on standard blues changes on the recording, but the head changes could be used for solos instead. There is an eight-measure intro also used as a coda, vamping on the phrase from the last two measures of the head.

Click on the second album cover for Bertha’s solo piano arrangement, recorded by Glenn Zaleski.

Bertha Hope’s piano arrangement consists of the intro, head twice, and coda. Though written for solo piano, this arrangement also works in a trio setting. For more details click on Piano Corner.