This bachelor thesis explores the use of blues language within the realm of jazz music. Through examination of solo excerpts from various jazz musicians spanning different eras, this study offers a comprehensive analysis of the tangible incorporation of melodic and technical elements inherent in the blues tradition within jazz.

The primary objective of this research is to grasp the essence of the blues as a theoretical framework within music, with the ultimate aim of applying this understanding to enhance personal improvisational and guitar-playing abilities. To achieve this goal, a dual approach was adopted, encompassing both theoretical exploration and practical application. Theoretical concepts central to the blues sound were investigated, alongside a detailed study of technical nuances that define its characteristic resonance.

Central to the methodology employed was the process of transcription and analysis, allowing for a nuanced examination of how jazz musicians adeptly infuse the blues language into their improvisations. By scrutinizing the intricate interplay between theory and practice, this study shed light on the dynamic evolution of the blues within the jazz idiom.

The study resulted in a deeper understanding of the use of blues language as an improvisational device within traditional ways of playing jazz music such as bebop and swing.