I looked around TB and there are a few posts that touch on terms like "quick IV" and such.

I was hoping that some experienced players could chime and let their fellow TB brothers know about blues jam terms that they've heard/used over the years and explain what they are.

Things that a new player would expect to hear and learn over time in your neck of the woods.

If possible, give some examples of the chord/rhythm changes and songs that we can listen to.

Maybe this can become a sticky if we get enough posts.

The stock blues progression is: 1 1 1 1 4 4 1 1 5 4 1 1

Quick IV goes to the four right away, so: 1 4 1 1 4 4 1 1 5 4 1 1

I used numbers rather than the normal roman numerals since the roman numerals are hard to read in this font.

Yep - what seanm said.

I wrote out the structure on the pages below and you can listen to the 2 tracks so you can hear the difference.

http://www.bluesbackingtrack.com/e-blues.html

http://www.bluesbackingtrack.com/e-blues-quick-change.html

You'll know what it sounds like as soon as you hear it.

Cheers, Nick.

Great idea!
May I expand the idea from just terminology to a blues jam primer?

Commonly used scales:

Major pentatonic: R 2 3 5 6
Minor pentatonic: R b3 4 5 b7
Blues: R b3 4 b5 5 b7
Mixolydian: R 2 3 4 5 6 b7
Dorian: R 2 b3 4 5 6 b7


Some common rhythms:

http://i210.photobucket.com/albums/bb112/ebmo/rhythms.jpg

T-Bone Walker or Stormy Monday changes.

Learn some basic funk lines.

Be able to play some straight-eight rock and roll (Johnny B. Goode type).


Some other non-blues songs that are frequently called (around here, anyway):

Superstition
Standing on Shaky Ground
Mustang Sally
Stand By Me
Midnight Hour

http://i210.photobucket.com/albums/bb112/ebmo/rhythms2.jpg

Since no one has mentioned this yet, even though it could be so obvious:

Another term you must know is "from the five" or "take it from the five." This phrase is often added to the structure so the band leader would say, "It's a quick four shuffle in A, take it from the five."

From the five means that you start the blues progression at the 5 4 1 1, usually as an introduction to the song. It then goes to the top of the progression as normal.

I believe the Cross Cut Saw rhythm is a samba.

I believe the Cross Cut Saw rhythm is a samba.

It is actually a rhumba.

Some other non-blues songs that are frequently called (around here, anyway):

Superstition
Standing on Shaky Ground
Mustang Sally
Stand By Me
Midnight Hour

These are used here a lot, too.
I recommend learning two SRV songs, (Tommy Shannon is awesome to study if you're just getting in to blues) Sky is Crying and Pride and Joy. Learn those and you've got a fast 12-bar shuffe and a slow blues figured out.

Then learn Crosscut Saw for a rhumba (Check out the Corey Stevens version, very easy to figure out). Then Green Onions, becuase that groove comes up sometimes.

Some good standards to know that have specific grooves are Messin' With the Kid (Junior Wells) One way Out, (Allman Bros.) and dang there's more but I can't think of them!

Also, know what a box-shuffle is. It looks like 1, 8, minor 7, 5. I wish I knew how you guys above put those cool staffs up there! For a box shuffle, listen to Chain Smokin' by Smokin' Joe Kubek. (Then listen to everything else this AWESOME blues band does :P!!)

For my money, blues jams can build your skill faster than just about anything! Because they are motivating!

Also, know what a box-shuffle is. It looks like 1, 8, minor 7, 5.

= Tore Down

How could I forget Pride and Joy? It comes up as often as Mustang Sally.

Cissy Strut is another non-blues tune that is fairly common.

Every female vocalist inevitably calls Chain of Fools.

Might want to have My Girl in your arsenal.
You, the bass player, are going to be the only thing that keeps that from being a train wreck (and even then, there's no guarantee).

Here's a couple of good collections to get someone started:

Freddie King (http://www.amazon.com/Ultimate-Collection-Freddie-King/dp/B00005B2XZ/ref=sr_1_1?ie=UTF8&s=music&qid=1240691721&sr=1-1)

Albert King (http://www.amazon.com/Ultimate-Collection-Albert-King/dp/samples/B00000331C/ref=dp_tracks_all_1#disc_1)

If you're talking box shuffles, let's not forget "uptown", from the 5 to the 8, and "downtown", from the 8 to the 5.

All great info....keep them comin' :hyper:

Tore down, Duh, of course! I was racking my brain, trying to think of a good box shuffle this morning, knowing full well I play a zillion of 'em, and had to go through my iTunes to come up with one! (Am I the only one who can't think of song titles without singing the tune in my head all the way through to the chorus, even if I wrote the song?)
I also recommend knowing Little Wing, btw. And Hootchie Koothcie Man. The Crossroads groove is also good to know, and fun as hell.
And if someone hollers "12 off the top" that means start on the one and play all the way through the 12 bar for an intro.

Flat Tire Groove.

March.


Aj

Flat Tire Groove.

aka Lumpty Lump

I've heard "Ice Cream Changes" used to describe both I vi IV V7 progressions, and I vi ii V7 turnarounds. Don't know which is correct.

quick question:

Does the "flat tire" groove stay on the root note and goes, quarter note-eighth notes?

Tell me if my question makes no sense, and I will try to rephrase it.

Just like a march it's a description of a groove.A swing 8th note shuffle groove. It's characteristic is that the middle eighth before the main beats are lilted/accented in a funny way that sounds like a car with one flat tire driving. It's really defined by the drums but everyone honors that groove.Bass usually plays the major pentatonic 1.3.5.6 line in quarters.


ker-flump ker-flump ker-flump


See "T-bone shuffle"



Aj

quick question:

Does the "flat tire" groove stay on the root note and goes, quarter note-eighth notes?

Tell me if my question makes no sense, and I will try to rephrase it.


See Emor's post #4 the 12/8 shuffle is a flat tire rhythm and it can be with or without a quick IV. The box shuffles mentioned later are common notes for it.

I only have one thing to add.


Don't ever be afraid to go and jam. It's a bunch of fun.

Another common one is the II, V turnaround where you replace the V,IV with the II,V. Very common in swing and jazzy blues

here are a few things i thought i could add.

first, someone mentioned "stormy monday." this is a unique chord progression, but very standard at jams. it should be learned, cause someone will call it out. another unique but ubiquitous bass line is "born under a bad sign." again, it will be called out at a jam (at least once a nite).

the biggest important point i would like to make is not mine, but comes from another thread. i like to link this thread cause it is a great resource for inspiration as well as links:

http://www.talkbass.com/forum/showthread.php?t=523050

this particular post summed it up for me (emphasis added by me):

I agree with most of what's been put forth here. As a blues bassist for the majority of my gigging life, I would emphasize what has been lightly mentioned, playing the blues well is not nearly as easy as it might appear. Yes, progressions aren't typically that tough, and it's not a speedfest (not all the time), but nailing a slow rhythm oriented line, can make the difference in what your audience hears and feels. Playing a shuffle with a ton of feel is a lifelong quest, don't be fooled into thinking it can be done by everyone. You have to listen to the other players with more then your ears, if that makes sense, you gotta feel them, you have to merge with them into one. Often it's about what you don't play, than what you do. More so than just about any other genre, note placement, duration, and quality take on a huge importance. along with your drummer, you are creating a foundation for the soloist to be truly inspired. How hard is replaced by how well. The better you are at creating that velvet background, the better, IME, a soloist will be able to reach those places beyond what they've done before. When it's done right, it's almost a religious experience, goosebumps and all. My own personal goal is trying to recreate that vibe every time. It can be better than any drug, woman, or earthly pleasure you can imagine. Getting there transcends any chops, gear, or training you may have, and I can't get enough of it. You may experience that in any kind of music, I suppose, but blues is where it's at for me, and, I suspect, for many.


incorporate this, and you are golden.

Don't forget the intro to Red House, where[usually] the bass and drums come in on the four, that song gets called at a lot of jams.

Wang Dang Doodle.
One chord, minor pentatonic.

The line in Clapton's take of Tore Down is a box, and maybe that is what a lot of the wannabe guitarists are expecting. But, the real deal is the line in Freddie King's original, which is anything but..... Check it out; great line.

Another common one is the II, V turnaround where you replace the V,IV with the II,V. Very common in swing and jazzy blues

Yes alot of blues players don't know this, but it gives a better flow to the swing groove. In addition after the 2 5 turnaround you can play a quick 1 6 2 5 to lead back into the 1. Here is the progression1/4/1/1/4/4/1/1/2/5/1 6/2 5
Key of Bb (common swing key)
Bb/Eb/Bb/Bb/Eb/Eb/Bb/Bb/C/F/Bb G/ C F

Here is a suggested list of standard artists you should be familiar with if you want to become a blues bass player. These are my favorites
1.) Albert King
2.) Freddy King
3.) B.B King
4.) Elmore Jame
5.) Jimmy Reed
6.) Albert Collins
7.) Little Walter
8.) John Lee Hooker
9.) Willie Dixon (played bass on alot of the Chess recordings)
10.) Slim Harpo
11.)"Gatemouth" Brown
12.) Memphis Slim
13.) Magic Sam
14.) Otis Rush
15.) Muddy Waters
16.) T Bone walker
etc.:smug:

Yes alot of blues players don't know this, but it gives a better flow to the swing groove. In addition after the 2 5 turnaround you can play a quick 1 6 2 5 to lead back into the 1. Here is the progression1/4/1/1/4/4/1/1/2/5/1 6/2 5
Key of Bb (common swing key)
Bb/Eb/Bb/Bb/Eb/Eb/Bb/Bb/C/F/Bb G/ C F

Learning the 2 5 walkup and the 1 6 2 5 turnaround is essential, IMO. It gives a sophisticated feel.

Around here (Minnesota) the "march" is referred to as a "spread." A box shuffle like "Tore Down" is referred to as an "down box" while one like "Stranger Blues" is an called an "up box."

As far as songs to know, "The Thrill is Gone" is a standard minor key blues that should be in every blues player's repertoire.

The line in Clapton's take of Tore Down is a box, and maybe that is what a lot of the wannabe guitarists are expecting. But, the real deal is the line in Freddie King's original, which is anything but..... Check it out; great line.

Wow, Sometimes I do a lot more playing music then I do listening to music. Play "Tore Down" every night, and I have been boxing it to death! AND...I've had the Freddy King album at my disposal for decades! Thanks for slapping me silly! lol!!!

Yah,D. Dunn's 16th note groove on that is killin!



Aj

Another little point, when you get to the jam, sign in, get your beverage, then pull out your little tuner with a good battery, short instrument cable, and get yourself in tune BEFORE they call you up. Once up there, WATCH THE FRONT MAN! And have fun, remember the best experience in the world is to spend 25 terror filled minutes of not having a clue, cuz, next time you will have a clue! Really, it ain't that bad!

WATCH THE FRONT MAN!


Amen

Yah,D. Dunn's 16th note groove on that is killin!
That's the Duck? I had no idea. Great line!

He's on that whole album,,,Gettin Ready Freddie? Right?



Aj

He's on that whole album,,,Gettin Ready Freddie? Right?
Aj

Yeah, great album that also had Going Down and Key To The Highway etc.

What is playing in a "box"?

We haven't done Bo Diddley's beat; what's the time sig on that?
bum-bum-BUM-bum-bum--BUM BUM :D
C.

What is playing in a "box"?

box pattern on the fretboard...

say we're playing in A, then the root is E string 5th fret, the 5 is the A string 7th fret, the flattened 7 is the D string 5th fret and the 8 is the D string 7th fret.

We haven't done Bo Diddley's beat; what's the time sig on that?
bum-bum-BUM-bum-bum--BUM BUM :D
C.

It's in 4.

?

Hey!

Where in So-Cal are you?

I'm the house bassist at a blues jam in Huntington beach on Sundays... (although I wasnt there last week and wont be there this weekend...

Should come down and play! Always love to "talk bass" :D



http://www.myspace.com/jjslydebluesjam

One of the things that a lot of player have to contend with is which version of a song is going to be jammed. If say a singer/guitarist names a song to jam and does not explain himself as to what the structure is, then effectively he is not jamming he is just playing and it is the rest that are jamming. In this situation If it goes wrong it is the jammers that are blamed not the guitarist/singer.

To be a true jam on an even playing field the song should be taking out of its natural version and re-interpreted...that is a jam, the one i mentioned is just a rehearsal for the singer/guitarist.

There are so many versions of the songs so it is the structure of the intervals that need to be learned not the notes. Thats why the terminology works so well and allows jamming.

Also at a jam, never be stronger than the weakest person on the stage. If you have a weak drummer play to his weakness and that will become a strength for the reat of the players on stage. If you expose the drummers weakness, you expose the rest of the players to this, and that makes for a bad jam.

As for phrases or word to help descibe a beat or feel, you will find if you can play to the phrase chewing tobacco you will find a true Texas shuffle feel. Say the phrase with a lazy Texan drawl and your there. So it becomes:

choowin' taabaca, choowin' taabacca, choowin' taabaca, choowin' taabacca

just saying over and over you will hear the hard notes and beats and the grace notes and beats. Great one for drummers to who i find are the biggest culprits on not getting a Texas Shuffle feel. I just say to them "feel this phrase" when its come up to a drummer thats unsure and it give them feel to react to a feel rather than worring about the mechanic involved in playing it.

"Take it down from the five" to start a song: |V|IV|I|V|

Cool thread

Since no one has mentioned this yet, even though it could be so obvious:

Another term you must know is "from the five" or "take it from the five." This phrase is often added to the structure so the band leader would say, "It's a quick four shuffle in A, take it from the five."

From the five means that you start the blues progression at the 5 4 1 1, usually as an introduction to the song. It then goes to the top of the progression as normal.
quick story of my first, nerve-racking blues jam EVER:
some drunk idiot guitarist: ok, this is in the key of E, [glances at me] start on the 5
me (no experience at all): the 5 chord? OK.
some drunk idiot guitarist: AH S***, you don't know what start on the 5 means?!?!
me: um...no, this is my first jam.
S.D.I.G: OK, well what DO you know? Do you know the I-IV-V? thats the most basic progression!
me: yeah, of course...(went like a train running downhill from there, never been to that bar since, and I was 18 at the time with two years experience playing mostly blues and rock)

I haven't read yet in this thread where anyone mentioned the device "stop time." The band plays in unison on beat 1 of of each bar, usually 4 bars it will last sometimes longer or even indefinitely (as long as the singer has enough caca to talk), and the singer or soloist fills in the space. Time stops for no man, the beat keeps going, just you rest on 2, 3 and 4. Elvis's "Heartbreak Hotel" is the best example I can think of: "Since mah baby left me... " Blues Suede Shoes, "and it's a one for the money, two for the show...." Oh, and Route 66 "Don't forget Wynona, Kingman, Barstow, San Bernardino" etc.

Anyway, people will say, "It's gotta a stop time in it" or "Watch me for the stop time" and they'll waive their arm or something.

Very cool thread this is.

Personally, I like 2-5-1 progression as a sub for the 5-4-1 and I like 3-6-2-5 turnarounds for bars 11 and 12 to break the monotony of the straight 5-4 progression (bars 9 and 10). Some bands play 1-4-5 blues all night and nothing else. An occasional 2-5 is a nice touch.

If you want to see the most subbed-out blues progression, check out Charlie Parker's "Blues for Alice" in the Real Book. Coincidentally, the opposite page is Toots Thielman's "Bluesette" which is the same progression but in a different key (Bb rather than F) and in 3/4 time instead of 4/4.

Incidentally, not many know this, but if Miles, Diz, Bird, 'Trane, Duke and the Count were standing here right now and you asked them, "What kind of music do you play?" Their answer will be, "We just play the blues." They never referred to themselves as jazz musicians. Harlem folklore has it that the term jazz was coined by a white guy. The blues started to really progress, and in an effort to hijack it, someone renamed it. The term jazz is a misnomer. Remember Miles' "All Blues"

Yes alot of blues players don't know this, but it gives a better flow to the swing groove. In addition after the 2 5 turnaround you can play a quick 1 6 2 5 to lead back into the 1. Here is the progression1/4/1/1/4/4/1/1/2/5/1 6/2 5
Key of Bb (common swing key)
Bb/Eb/Bb/Bb/Eb/Eb/Bb/Bb/C/F/Bb G/ C F

What songs would best illustrate an example of this progression?

Johnny B and allbert colllins,,,, Frosty or any of the key of D med/up shuffles. He's subbing all over

= Tore Down

How could I forget Pride and Joy? It comes up as often as Mustang Sally.

Cissy Strut is another non-blues tune that is fairly common.

Every female vocalist inevitably calls Chain of Fools.

Might want to have My Girl in your arsenal.
You, the bass player, are going to be the only thing that keeps that from being a train wreck (and even then, there's no guarantee).

Here's a couple of good collections to get someone started:

Freddie King (http://www.amazon.com/Ultimate-Collection-Freddie-King/dp/B00005B2XZ/ref=sr_1_1?ie=UTF8&s=music&qid=1240691721&sr=1-1)

Albert King (http://www.amazon.com/Ultimate-Collection-Albert-King/dp/samples/B00000331C/ref=dp_tracks_all_1#disc_1)

Albert and Freddie King are great reference for blues jams since they created many of the stds used a lot. Albert king's stuff usually has interesting twists on old std basslines. Checkout a new Albert King release referred to as a six-pack just out....pretty cool version of cross cut saw on it.

What songs would best illustrate an example of this progression?

You can sub those changes (or parts of them) over lots of blues progressions, it depends on what kind of sound you're going for (and what's appropriate).

Here are some considerations:

Do you want to play more chromatically, triad-based, pentatonic-based, scale-based? Try them all and mix them up.



If you want to see the most subbed-out blues progression, check out Charlie Parker's "Blues for Alice" in the Real Book. Coincidentally, the opposite page is Toots Thielman's "Bluesette" which is the same progression but in a different key (Bb rather than F) and in 3/4 time instead of 4/4.


Nice choice, but I think Goodbye Pork Pie Hat takes the cake (these changes would probably not fly at the kind of jam we're talking about). :ninja:


We haven't done Bo Diddley's beat; what's the time sig on that?
bum-bum-BUM-bum-bum--BUM BUM :D
C.

Are you talking about this clave?

http://i43.tinypic.com/dlm72a.jpg

I looked around TB and there are a few posts that touch on terms like "quick IV" and such.

I was hoping that some experienced players could chime and let their fellow TB brothers know about blues jam terms that they've heard/used over the years and explain what they are.

Things that a new player would expect to hear and learn over time in your neck of the woods.

If possible, give some examples of the chord/rhythm changes and songs that we can listen to.

Maybe this can become a sticky if we get enough posts.

Great thread for those of us still workin' up the nerve to join the local blues jam....great advice! thanks!

Drag Ed Friedland's Blues bass book into your practice room. Highly recommended.

I like his Jazz writing even more, but that's another whole can 'o worms.

Drag Ed Friedland's Blues bass book into your practice room. Highly recommended.

++1 You can get it at:

www.edfriedland.com

www.bassbooks.com

Bluesy soul :cool:

Thanks to every person with thoughts on this thread. I did my first "blues jam" last night and I used a solid half of the specific suggestions in here.

Above, someone was trying to think of other ones, darnit: here is one the ones I got caught cold one: Key to the Highway. It is an 8 Bar structure and the lead didn't want to take the time to talk me thru it on stage.

What a bunch of characters and what a load of fun.

Learning: the lead, Pete, said "I know they teach you guys to play slightly behind the beat, but that's wrong. Absolutely key to hit the downbeat with key notes" (he didn't know I was trying to!:D)

Key to the Highway (got the Little Walter version among others) and will puzzle out the chord structure.

Get better at "Messing with the Kid".

I realized that all those ages of practice were usually sitting....WRONG!! When on stage, u r standing :rolleyes:Doh!

I was getting disoriented with my right hand as to string from time to time.

Doing my second gig with our at-work events band (the X-Band...don't ask) this thursday and the third two thursdays later for a Cancer benefit. Could you think of a better way to do "community support" stuff in a work context? And they give us the sound guys from Adv Media! Using my new GK head and cab for the first gig and am really looking forward to it. I now understand the value of mid-range a whole lot better.

Worst part of the blues jam was getting up for work as it's on Sunday nite. As Arnold said, "I'll be back...":hyper:

Glad you had fun! As a bass player you never know who you'll play with in a jam, the other guys sit down and you get to play! I got to play with Ronnie Earl, Sam Meyers, Sam Carr, Frank Frost, Little Ed and plenty of others. Messin with the Kid is one I've played a few different ways, some guys do the descending part every chorus other a couple times only.

I had a student get really mad at me, he could walk a blues and sat in on a jazz jam. The guys said blues in Bb, he said "quick 4" "And they said "sure", and blazed away at a really fast tempo. Watch your terminology in different genres!

I've also found that if everyone tries to just sound good, leaders rarely care if a song is way off from the standard version.

What REALLY angers me as a bass player is when during a slow blues, two guitars are playing rythm and one guy goes into Stormy Monday changes and the other stays with the original. Now the guy who changes is wrong, but will keep going. The other is when walking a line the guitarists start riffing. Our job is to follow, so be aware. Another peeve is the guy who tunes down a half step and calls wrong keys, or when the leader calls a key HE plays the wrong key. Things to be aware of.

I got caught cold one: Key to the Highway.


You will have it by next jam. :D

So glad you liked it ... great way to network too. I actually met Darren J. at a blues jam, used the jam to audition each other live on stage, can't think of a better way! By the next week we had a band (it could happen to you).

I'm house bass player at this weeks blues jam, wish you were gonna be here (could use the help)

http://i89.photobucket.com/albums/k220/kennyallyn/Felix%20the%20Cat/Felixyeahthumb.jpg ... check us out on YouTube http://www.youtube.com/watch?v=Pi3Eixdshxs

Glad you had a good time. The first jam is always nerve wracking. I don't know where in Metrowest you are but if you're ever inclined there's a good jam Wednesdays in Waltham at The Rendezvous in Waltham on Moody St. Small, friendly and usually good players show up.

Glad you had a good time. The first jam is always nerve wracking. I don't know where in Metrowest you are but if you're ever inclined there's a good jam Wednesdays in Waltham at The Rendezvous in Waltham on Moody St. Small, friendly and usually good players show up.

Great lead on the Waltham jam! Thanks!

I went to John Stone's Inn (I guess now called Stone's Public House ...http://www.stonespublichouse.com/) in Ashland, MA.

Ironically my wife goaded me into it. I'm doing my second gig at a work-related function Thursday...we have an all employee band that works cheap. So it was good warm up for the gig.

The regular bass player even used GK (400RB and a 4x10). As I just bought the 700RB-II and a Neo 212, it felt and sounded comfortably familiar.;)

Thanks again for your inputs on this thread. Particularly the discussion of a II-V turnaround. Pete was surprised I knew what it was!

This thread should really be stickied!:bassist:

11.)"Gatemouth" Brown


+1

shuffle in A
quick 4
starts on the 1
Bring it in with the guitar
Turn around alternates the stormy monday walk up with a 1-6-2-5
slam the gates on the chorus!
Solos left to right.

http://vids.myspace.com/index.cfm?fuseaction=vids.channel&contributorid=16713728

You mean something like that?

There's enough stuff here to write a nice blues vocabulary! Thanks, all.

shuffle in A
quick 4
starts on the 1
Bring it in with the guitar
Turn around alternates the stormy monday walk up with a 1-6-2-5
slam the gates on the chorus!
Solos left to right.

http://vids.myspace.com/index.cfm?fuseaction=vids.channel&contributorid=16713728

You mean something like that?

Yep, just like that. Xlnt video example. Thanks. Anymore?

"ice cream changes" are doo-wop changes.. Darling..you..send me....songs like that.

Humpty Hump, lumpty-lump..and LUMP are all the same. In chicago..the Lump is the backbeat. boom, boom-CHA. We just call it a lump. Or Jimmy Reed. Or..Charlie Love.

If a guitard calls out "Slow in C"..and he doenst mention major or minor...by the third note into the intro..you better know.

STUDY Johhny B Gayden , Calvin Fuzz Jones, Bob Stroger, Nick Charles, J.W. Williams, Willie Kent(rip)

http://www.youtube.com/watch?v=mtkeE8hrO4Y Thats my drummer in the back BJ. IM not at this gig.

Personally, I like 2-5-1 progression as a sub for the 5-4-1 and I like 3-6-2-5 turnarounds for bars 11 and 12 to break the monotony of the straight 5-4 progression (bars 9 and 10). Some bands play 1-4-5 blues all night and nothing else. An occasional 2-5 is a nice touch.

I recently picked up the concept of using the 2-5-1 as a sub for the 5-4-1 and like the idea, it does get manotonous.

Question: Should you stick to the same shuffle or box pattern in this section (the 5-4-1 or 2-5-1) or is this an opportunity to do something different, sort of along the lines of the AABA song concept?

In a blues situation it's often the walk up from the II cord it's second then chromatic to the root of the V.

IE Key of C

D,E,F,F#...


Aj

Don't know if it's been mentioned (I looked)

A "Box" groove is also called a Downtown groove and there's a uptown as well.


Aj