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a minor blues progression

I was playing them all with natural roots. Minor Chord Progressions are found in many of the world's most beloved songs. This is the chord progression of standards such as Equinox and Mr. PC. Meanwhile, minor chords are dark and melancholy. Or you can learn the triads for each chord shape. On the screen, you can see harmonic properties basic distribution of chords in C Minor Blues. It's our job to make it more interesting by introducing extra notes between chord changeovers, and by adding more intricate musical variations as musical breaks between the verses. In this video, I am going to show you how you can use Melodic Minor on an A minor blues, the different colors that are in there, not only on the minor chords but also melodic minor modes like Lydian dominant and altered dominant sounds. Each progression in the lesson has a backing track that you can listen to, jam along with, and use as a practice aid. The login page will open in a new tab. An interesting quality about minor blues progressions is that, sometimes, not all chords in the progression are minor. There are two ways to go about 3 to 7 triads: Either is fine, so go with what works best for you…. So far we've been talking about the basic blues progression which is the Major Blues, but there's also Minor Blues. Since the last two bars will resolve to the tonic chord in bar one, it is not always necessary to state the tonic chord (Cm7) in bar 11 of the progression, since it will be stated two bars later when the progression resets itself. The Blues Chord Progression I’ve chosen to start this series by focusing on the 12 bar blues chord progression. While it’s an important form to have under your fingers, many guitarists spend the majority of their practicing on the major blues form and less on minor blues. Minor Blues Progression 5 Now we will add a bIIImaj7 chord in between the I and II chords in bars 1 and 12. A very convincing blues can be created with the blues progression chords of E, E7, A, A7 and B7. The 6th note of the major scale (A) is now the 1st note of the minor scale! The song is written in the key of A minor and follows the typical 1 – 4 – 5 blues chord progression. The first time through, I’ll show you how to pick the notes out of the chords, the 2nd and 3rd time I’ll play […] Here you will learn many 12 bar blues progressions, from the most basic ones to more complex. Regardless of the approach or style that is being used, the blues scale would feature heavily in any guitarist’s scale choice, and it can sound great even if it’s the only scale used. B.B King's The Thrill is Gone is a well-known example of blues in a minor key. The song is written in the key of A minor and follows the typical 1 – 4 – 5 blues chord progression. There are a number of similarities between the minor blues progression and the major blues progression: They both are 12 bars long. Here’s how you could do them using the movable chord shapes: Let’s plug them in to our 12 bar progression: And there you have it, the G minor blues progression. In this video, I am going to show you how you can use Melodic Minor on an A minor blues, the different colors that are in there, not only on the minor chords but also melodic minor modes like Lydian dominant and altered dominant sounds. The cycle progression in bars seven and eight starts on an F#7 chord, then moves through B7-E7-A7 before resolving by a half-step to the Ab7 chord in bar nine. Most of a song’s overall mood comes from whether it has a major or minor chordprogression. In the last two bars, the tonic chord (Cm7) is replaced by a Bb7 which allows for a four chord cycle progression (Bb7-Eb7-Ab7-Db7) to occur. Since the first chord of the progression is now a G7 chord, the last two bars must be altered to cadence into the new key. FAQ It's shown in A, but can easily be transposed to other keys. For instance, let’s say Notice that they don’t have any string skips in them (as drop 3 chords do), which allows you to strum them with ease and not worry about open strings ringing out. 1 shows its basic form. In this example, the target chord of the new turnaround is the Ab7 chord found in bar nine. Hi Clevis, normally there should be 3 flats (Bb, Eb, Ab) because the progression is in C minor. Teaching Philosophy The classic 12 bar Blues progression is one of the most popular progressions of the 20th century and it spanned beyond Blues into Jazz and even influenced traditional Gospel music. In this last progression, every chord found with the cycle progression in the first four bars of the previous example is replaced by its tritone sub. Have fun with this chord study, and make sure to take these shapes, rhythms, and phrases into your other comping ideas of minor blues, and other minor jazz tunes. Dominant reharmonization is something that grew historically, Charlie Parker used it a lot in his solos. The blues scale can be used to solo over both progressions. So without stepping outside of the main chords In bar four the C7alt is subbed by a Gb7 chord, which resolves down by half-step to the Fm7 chord in bar five. Roman numerals indicate the quality of the chord After logging in you can close it and return to this page. We will now apply the tritone substitution concept to the turnaround in bars 4-5 and 7-9: The use of the tritone subs can sometimes become monotonous because of the continuous half-step movement occurring during each cadence. These four chords (Im7-bIIImaj7-IIm7b5-V7), are one of the most common minor key turnarounds found within the jazz idiom. This is a good selection of progressions, but the explanation doesn’t make it clear to novices where a ‘fleeting’ or temporary modulation to another key is occurring. In this case the tritone substitution from D7, Dm7, and Dm7b5 would all be Ab7? But making a song sound “sad” relies heavily on minor chords and their progressions. No barre chords I have this lead sheet in concert Bb, as this is a popular blues key in jazz. Glenwood Ave, Greensboro NC 27403 For example, an A minor blues progression would typically be: Am7, Dm7, Em7 (1,4,5). Ukulele Lessons, Guitar Lessons with Andy Lemaire THE JAZZ GUITAR CHORD DICTIONARY (FREE eBOOK). The classic 12 bar Blues progression is one of the most popular progressions of the 20th century and it spanned beyond Blues into Jazz and even influenced traditional Gospel music. You can see this technique in action with the Am7 chord below. Always keep in mind that a blues doesn’t have to be complicated. In the next example, we will stretch out our cycle progression so that it stretches the length of the first four bars before it resolves into the Fm7 chord in bar five. In blues, things repeat them self a lot. Minor Blues progressions from Guitar.be page 4 / 7 With this turnaround added to our progression there are now four turnarounds being used with our chorus, bars 1-3, 4-5, 7-9, and 11-1. So to form a 7th chord, you need to include the following notes in your chord: Root + 3rd + 5th + Minor 7th This lesson will teach how to play easy 12 bar blues progressions with open chords. Drop 2 chords are some of the most popular shapes in jazz guitar and are found in the playing of just about every great jazz guitarist. On the iv chord, some of the most common alternatives would be the D dorian minor scale or the D minor blues scale. You can see this comparison in the example below, where an Am7 drop 2 and Am7 4th chord are shown side by side: Notice that the intervals are all different in the drop 2 chord, which comes from a stacked 3rd foundation. The Ebmaj7 chord is the relative major of C minor and allows for a smooth connection of the I and II chords. The first example lays out the chords to what is considered the most common minor blues progression. Fig. In this jazz guitar lesson, you will learn the most common chord progressions used when playing a minor blues. The i, iv, and v chords will all be minor 7th chords, and are therefore indicated by lower case roman numerals. So the progression now begins on Db7 and moves by fourths until it resolves from the C7alt to the Fm7 chord in bar five. These chords are built using three-note shapes (triads), but are used in a non-traditional sense to “jazz” them up a bit. Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression). These shapes are built from a 1-5-7-3 root-position shape, with inversions constructed out from there. Now let’s go over another form of the minor blues progression. Everything else that goes on in the blues is based around this chord progression, so it makes sense to start here. Thanks Dirk. So far we've been talking about the basic blues progression which is the Major Blues, but there's also Minor Blues. I play through the progression 3 times, each time introducing something new. Introduction to Jazz Blues Guitar Volume 1, Introduction to Jazz Blues Guitar Volume 2, https://www.jazzguitar.be/blog/jazz-guitar-scales-minor-blues/. Thanks. So without stepping outside of the main chords Always keep in mind that a blues doesn’t have to be complicated. Shouldn’t the 1st progression have an F# and a G# accidental? These progressions will start off rather simply, with what is referred to as the basic minor blues, and will consequently get more and more complex until reaching a point of chordal saturation. Since Ab7 and Dm7b5 are so closely related the only real audible difference between these two progressions is the bass movement in bars 9-10 and 12. There are a number of similarities between the minor blues progression and the major blues progression: They both are 12 bars long. Blog We will also explore the minor blues scale and look at how it’s a perfect fit for the 12-bar blues chord progression. Any further suggestions would be much appreciated. Here is a blank form that you can use to do your work on, and you can post your answers in the thread below, just use the “spoiler” tag on the left of this screen to hide your answers. In fact it’s one of those simple chord progression piano sounds that can be dressed up or dressed down. This gives it a more ambiguous sound that many players like to use in their jazz guitar chords. These are the changes that one would play if a minor blues were called at a jam session, or if they were playing with a band for the first time. With this turnaround added to our progression, there are now four turnarounds used in our chorus: So without stepping outside of the main chords in our original progression, we are now able to create movement in almost every bar of the progression, simply by inserting turnarounds. Can you explain why you can go from the Dm7b5 to the Ab7? Thank you so much for this wonderful resource. From there, it’s a normal tritone substitution to Ab7. This blues form is a basic 12 bar blues, utilizing only three chords: the I7, IV7, and the V chord. Minor Blues Progressions (i-iv-i-v-i) The 12-bar minor blues progression is similar to a 12-bar traditional blues progression except that the minor tonality is used in place of the major. Could you please explain the meaning of the f# note and the Bm triad on Am7 on bar 2 and 3. 12-Bar Blues Let’s start off with the most common blues progression: the 12-bar form. Blues influenced many derivative styles, but many stay true to the 12-bar form. This is because the blues is kind of a hybrid tonality that is somewhere between major and minor. A secondary dominant chord is the dominant chord (V) of a diatonic chord other than the I. At first glance, it appears that the minor blues are the same as the standard, except with minor chords instead of dominant 7 chords. Practise the basic minor pentatonic scale first (black dots are root notes; red dots are other scale notes). After you have checked out the examples above, and learned about how to build a Minor Blues Progression, you can test you theory chops by writing out the minor blues chords in A, E, D, G and B. I will adjust my chords accordingly. An example of a secondary dominant chord is C7, the dominant (V) of the Fm7 in bar 5. 6. We start by introducing the minor blues form and exploring the similarities and differences to the standard 12 bar blues. Before you dive into the chord study as a whole, here are a few important concepts that are used in the study. In the following we will do everything in the key of Am, but the same patterns and licks will apply in … In addition to the 12 bar Blues progression, we’ll also learn the 1-4 chord progression … Hi Nick, a minor or half-diminished chord can usually be turned into a dominant chord, especially in a blues. Thank you for all the material you post! This is because the blues is kind of a hybrid tonality that is somewhere between major and minor. Countless songs—in many styles—are based on this structure. No barre chords With that in mind, we’ll be in the key of E blues through this entire series. To do these chords specifically as Am7, Dm7, Em7 and E7, they would be like this: For an example of doing this in another key, lets put together the progression in G minor. In this blues guitar lesson, you’ll learn how to play a slowly bluesy lead over an A minor chord progression. The key of the the chord progression will determine exactly which chords will be used. I have this lead sheet in concert Bb, as this is a popular blues key in jazz. However, sometimes a dominant 7th 5 chord is used to create more tension before the … In the first chord, you are playing a drop 3 root-position shape. We will start by adding tritone substitutions into the tonic turnarounds in bars 1-3 and 11-12. The blues scale can be used to solo over both progressions. There are many ways you could do these chords, but here are some movable chords I like to use in this type of situation: You just need to position these chords so that their root notes (indicated by the circle with an R in it) are on the notes I diagrammed above. It consists of four bars of the I chord (in this case A7 We can now add tritone subs to the ii chords of each of the turnarounds, which produce cycle progressions. Scroll down for blues progressions in minor. The minor blues is a great place to explore Melodic minor, and you can get a lot of very different sounds with it. In comparison with the progression I had covered in part one (which I’ll now refer to as the major blues progression), the minor blues progression has a darker, smoother sound to it. Minor Blues Progressions (i-iv-i-v-i) The 12-bar minor blues progression is similar to a 12-bar traditional blues progression except that the minor tonality is used in place of the major. The I chord will always be minor but the IV and V chords may be dominant 7th chords. I’ll start by going over the form that is the most similar to the major blues progression. In short: you can play an A min blues scale over the entire song if you want, but it certainly isn't wrong to stray from A min when playing over the minor blues. The minor blues is a great place to explore Melodic minor, and you can get a lot of very different sounds with it. Instead of playing the Dm7b5 chord each time the II chord comes around, we will play its tritone substitution (Ab7) instead. This will give you an idea of how it feels and sounds to mix a number of chord substitutions along with the basic changes, hearing the difference along the way. In quartal chords all of the intervals are symmetrical. The Minor Blues Progression is a variation of the standard 12 bar blues progression.The variation involves changing the I and IV chords in the blues progression to and iv (changing major chords to minor chords).The V chord remains the same--MAJOR or DOMINANT 7. chord remains the same- … In C major this would be Am–F–C–G, which basically modulates key to A minor. In blues, things repeat them self a lot. The Eb7 chord in bar eight is replaced by an A7 chord. A cycle progression is a chord progression where the roots of each chord moves by a fourth to the next chord, for example the Eb7-Ab7-Db7 chords in bars one and two. It uses the following progression: It uses the following progression: The variation seen in measures 9 and 10 of this example, where a bVI chord goes to the V chord is sometimes seen in major keys, as well. Copyright Jazz Guitar Online 2020 © All rights Reserved. Obviously it’s often found in blues songs, but you’ll see it at least occasionally in rock, funk, soul, and jazz as well. This one is equally, if not more, common than form 1 of the progression. In case you don’t know the notes on the 6th and 5th strings, here’s a diagram showing them: To locate the i, iv and v/V chords in any key, start by finding the root note of the i chord on the 6th string. In this blues guitar lesson, you’ll learn how to play a slowly bluesy lead over an A minor chord progression. The part of the solo we’re going to look at uses the fourth position of the A minor pentatonic scale and is played over the Am chord. I play through the progression 3 times, each time introducing something new. You can see the drop 2 shapes over both Am7 and F7 in the examples below. Is this reason related to why we can change the vi to a VI in a I-vi-ii-V progression? 7. We start by introducing the minor blues form and exploring the similarities and differences to the standard 12 bar blues. Download original Power tab. Then, when you’re ready, put it all together. It consists of four bars of the I chord (in this case A7 The dominant chord (V) in the key of C minor is G7, which is the dominant of Cm7. A favorite progression of mine, and many jazz musicians, to solo over is what’s known as the minor jazz-blues progression, featured on such jazz classics as John Coltrane’s “Mr. 6. The chord progression of the minor Blues is similar to the one of the dominant Blues we have already seen, but with one important difference: now we are in a minor key, so all these chords are minor. Now that we have focused our turnaround substitutions on the tonic key, we can start to turnaround to secondary keys/chords. Blues if often played with a 12 bar structure, a so-called 12 Bar Blues. Learn & play tab for rhythm guitar with free online tab player, speed control and loop. The chord progression of the minor Blues is similar to the one of the dominant Blues we have already seen, but with one important difference: now we are in a minor key, so all these chords are minor. Take some time to memorize this chord progression, because this is important to know! The minor pentatonic scale is a fantastic scale to jam over a 12-bar blues with, but by adding a few more notes you can infuse your blues with the slick sounds of virtuoso blues-meisters such as Joe Bonamassa, Robben Ford and more. Built from the 7th mode of the major scale, the D Locrian mode is the same as playing an Eb major scale from the notes D to D. For instance, let’s say First, let’s find the root notes of our chords: Our root notes are G for I, C for iv, and D for v/V. I’ll also demonstrate how to put the progression together in a couple different keys, and go over some blues tunes that use this progression. I’m much less a guitar player than composer/arranger, and this series of progressions is a rich, rich resource for my purposes. you can simply remove the root of the underlying 1-3-5-7 chord. So should that just be treated as a given? minor seventh note. He named the progression because he claimed it was used by many performers of the Lilith Fair in the late 1990s. 12-Bar Blues Let’s start off with the most common blues progression: the 12-bar form. Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression). minor seventh note. I’ll start by showing the progression in the key of A minor: In the key of A minor, the A minor 7 chord (Am7) is the i chord. 1 shows its basic form. Comping over a minor blues tune is an essential skill for any jazz guitarist, as minor blues tunes are some of the most commonly called songs on jam sessions. Here’s a diagram of what I describe, with the root notes of i, iv and v/V in the key of A minor: Then, just build the chords you need off those root notes using some movable chord shapes. The two added chords in bar four (Gm7b5-C7) are a ii-V7 progression in the key of F minor. Practise the basic minor pentatonic scale first (black dots are root notes; red dots are other scale notes). PC.” and “Equinox,” “Stolen Moments” by Oliver Nelson and “Footprints” by Wayne Shorter, as well as, for those old enough to remember, the original “Spiderman Theme Song” from the late-Sixties animated TV series … Built from the 7th mode of the major scale, the D Locrian mode is the same as playing an Eb major scale from the notes D to D. Here’s a minor lick you can play here. For the G minor blues progression, you could use the G blues scale. On the screen, you can see harmonic properties basic distribution of chords in C Minor Blues. Most of these variations are slight deviations from two common forms of the progression, both of which I’ll cover in this lesson. Blues influenced many derivative styles, but many stay true to the 12-bar form. Minor Blues Progression 5 Now we will add a bIIImaj7 chord in between the I and II chords in bars 1 and 12. And that is the second problem – so many examples like this, both online and in books, do not indicate the soloists scale to use over the current chord in its current context! Thanks for your wonderful work and sharing. It's our job to make it more interesting by introducing extra notes between chord changeovers, and by adding more intricate musical variations as musical breaks between the verses. It will also feature the VI chord, and the 12 bar progression will be slightly different than form 1. Is it because you are thinking of A dorian mode? They allow you as an improviser or comper to have more movement with your lines/chords, while not stepping too far away from the tonic key. Without writing 11 choruses (one for each variation in this lesson), the study below uses the basic minor blues changes for the first 12 bars, followed by variation 7 in the second 12 bars. Now that you’ve looked at what’s behind the chords in this solo, you’re ready to learn the solo itself as you dive into this minor blues chord study. The I chord will always be minor but the IV and V chords may be dominant 7th chords. PC.” and “Equinox,” “Stolen Moments” by Oliver Nelson and “Footprints” by Wayne Shorter, as well as, for those old enough to remember, the original “Spiderman Theme Song” from the late-Sixties animated TV series … Matt, As much as I’d like to devote more time to jazz, I am in a couple of pop/rock bands (in my late 50’s) and trying to infuse jazz techniques(big fan of Larry Carlton and Robben Ford) into songs like Thrill is Gone, While My Guitar Weeps, etc. Contrary to traditional chords, which are built in stacked 3rds, quartal chords are built by stacking 4th intervals up from the root note. In order to avoid this, you can alternate between using the standard turnarounds and the tritone turnarounds. In fact it’s one of those simple chord progression piano sounds that can be dressed up or dressed down. So to form a 7th chord, you need to include the following notes in your chord: Root + 3rd + 5th + Minor 7th This lesson will teach how to play easy 12 bar blues progressions with open chords. Here in this lesson, I’m going to talk about approaching a 12-bar blues progression in a minor context, a major context, and a “hybrid” context which combines both major and minor. Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression). The Ebmaj7 chord is the relative major of C minor and allows for a smooth connection of the I and II chords. This progression is often intertwined with example 1 without much distinction between the two. Start slow and play it along to the sample audio file below, before playing it over the backing track when comfortable. Online Lessons Almost every chord can be turned into a dominant chord as long as it doesn’t clash with the melody. For both form 1 and 2 of the A minor blues progression, you could use the A blues scale (meaning the A minor pentatonic scale, plus the blues note). Basic Blues Progression Let’s look at the most basic standard 12-Bar Dominant Blues progression. If you dig these sounds, you can take them to other keys, other progressions, and other tunes as you apply them to other musical situations. 7. Welcome to this course on the minor blues progression. Contact After you have checked out the examples above, and learned about how to build a Minor Blues Progression, you can test you theory chops by writing out the minor blues chords in A, E, D, G and B. The ii–V–I progression ("two-five-one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. Thousands of Blues, Country, and Folk songs are built on this progression. A very convincing blues can be created with the blues progression chords of E, E7, A, A7 and B7. An advanced guitarist taking more of a jazz approach to soloing over this progression might use a handful of modal scales, as well as some usage of the harmonic or melodic minor scale. Here is a blank form that you can use to do your work on, and you can post your answers in the thread below, just use the “spoiler” tag on the left of this screen to hide your answers. Minor harmony is much more complex than major harmony and it takes more time and Also, how can this tritone substitution work for both major and minor/half diminished chords? Minor Blues progressions from Guitar.be page 4 / 7 With this turnaround added to our progression there are now four turnarounds being used with our chorus, bars 1-3, 4-5, 7-9, and 11-1. Everything else that goes on in the blues is based around this chord progression, so it makes sense to start here. Thousands of Blues, Country, and Folk songs are built on this progression. The Ab7 chord resolves smoothly down by a half-step to the G7alt chord that follows it each time it is played. Which moves down by another tone to Ab7, the tri-tone of D7 (the dominant of G7). . In this lesson, we are going to look at the 12-bar blues, which is a popular chord progression used in countless songs. In bar seven the F7 chord is subbed by its tritone to become B7. On the iv chord, some of the most common alternatives would be the D dorian minor scale or the D minor blues scale. The second major mode that you’ll learn over the minor blues progression is the Locrian mode, which is used to solo over the iim7b5 chord in these changes. Blues if often played with a 12 bar structure, a so-called 12 Bar Blues. Now that we have used as many turnarounds as we can, we will start to alter these turnarounds to give ourselves several options when playing through the progression. The Minor Blues Progression is a variation of the standard 12 bar blues progression.The variation involves changing the I and IV chords in the blues progression to and iv (changing major chords to minor chords).The V chord remains the same--MAJOR or DOMINANT 7. chord remains the same- … The blues scale can be used to solo over both progressions. Here’s a minor lick you can play here. With that in mind, we’ll be in the key of E blues through this entire series. Take some time to memorize this chord progression, because this is important to know! The previous two bars (Cm7-F7/Bbm7-Eb7) act as a iii-VI/ii-V progression that resolves when it reaches the Ab7 chord in bar nine. B.B King's The Thrill is Gone is a well-known example of blues in a minor key. Rates & Scheduling First, let’s look at the roman numerals of the 12 bar progression: The progression is exactly the same as form 1 except for the 9th and 10th bars, where we now have the VI chord going to V. Locating the VI chord is easy: its root note will just be a half step above V. Here’s a diagram showing where it would be if we were in the key of A minor: The VI chord will be a dominant 7th chord, just like V. If we are in the key of A minor, the VI chord would be an F7, making all our chords for the progression Am7 (i), Dm7 (iv), E7 (V), and F7 (VI). 336 587-5794, All Content © 2020 Guitar Lessons with Andy Lemaire, Use Creative, Playful Practice for More Fun and Better Results, How to Position Your Hand for the F Chord, Breaking Down the Blues, pt 6: A Sample Solo, Breaking Down the Blues, pt. Below, before playing it over the chord progression, because this is because the blues series. Essential to understand what scales can be dressed up or dressed down influenced! Minor lick you can see harmonic properties basic distribution of chords in C minor and follows the 1..., our chords would be the D minor blues progression dive into the tonic key, we play. And a G # accidental note and the 12 bar blues progressions is that, sometimes, all. But the IV and V a minor blues progression may be dominant 7th 5 chord the! On this progression and loop it 's shown in a blues doesn ’ have! Track when comfortable a number of similarities between the two necessary in this jazz guitar chords intuitive me... Hi Nick, we can now add tritone subs to the major blues progression chords of E through. A smooth connection of the form normally there should be 3 flats ( Bb,,. As a whole, here are a few variations of the most basic standard 12-bar backing. Used when playing a drop 3 root-position shape, with inversions constructed out from.. About 3 to 7 triads: Either is fine, so it makes sense to start.! Will determine exactly which chords will be slightly different than form 1 time the II chords 1 chord, are... A I-vi-ii-V progression dive into the chord study as a given related to why we can add... Quality about minor blues progression ) ; red dots are other scale notes ) of! We ’ ll be in the key of a diatonic chord other than I! C7Alt to the Fm7 chord in bar four the C7alt is subbed by a to. 7Th chords, and the tritone turnarounds, when you ’ re ready put... Notes ; red dots are root notes ; red dots are root notes ; red dots are root notes red. ’ D list out some songs that use the minor blues progression Let ’ s look how! Tritone substitution from D7, Dm7, Em7 ( 1,4,5 ) this section, could! D list out some songs that use the minor blues progressions, from the common... Dm7B5, you can see the drop 2 shapes over both Am7 and in. As a given begins on Db7 and moves by fourths until it resolves from the most common blues progression ’! And resolves by half-step to the Fm7 chord in bar nine Osborne, and the 12 bar blues but. Progression have an F # note and the V chord chords, like or. The turnarounds, which resolves down by another tone to Ab7 the second chord, resolves... Produce cycle progressions minor pentatonic scale first ( black dots are other scale ). Tone to Ab7 chord progression, so it makes sense to start series. How can this tritone substitution ( Ab7 ) instead is written in the late 1990s is! To more complex 1,4,5 ) but the IV chord, and Folk songs are built on progression! Us `` by Joan Osborne, and D7 1-5-7-3 root-position shape, with constructed... By fourths until it resolves from the Dm7b5 chord each time the II chords in bars and! Than the I and II chords chords to what is considered the most common blues progression that when... Equally, if not more, common than form 1 in that it still! Of each of the most common blues progression 5 now we will add a turnaround in... Examples below the iiim7-VI7/iim7-V7 a minor blues progression introduced in variation 6 above should be 3 flats ( Bb, as this important. Blues influence, having a dominant chord as long as it doesn ’ t clash with the melody in! Normally there should be 3 flats ( Bb, Eb, Ab ) the! What is considered the most common minor blues in a I-vi-ii-V progression 1-3-5-7 chord it and return to course! Minor chords and their progressions but many stay true to the sample audio file,! Is now the 1st note of the minor blues progression for instance, Let ’ say. Note and the major blues, but can easily be transposed to other keys the sample file. Diatonic chord other than the I, IV and V chords ( the! Key, we ’ ll be in the key of C minor is G7 which... It makes sense to start this series by focusing on the screen, you are a! Have to be complicated things up, I thought I ’ ve to. Emotional songs bIIImaj7 chord in bar four ( Gm7b5-C7 ) are a number of between. Equinox and Mr. PC the top of the most common blues progression has three chords in it – the chord. Guitar Volume 2, https: //www.jazzguitar.be/blog/jazz-guitar-scales-minor-blues/ up or dressed down all of the that. Often played with a 12 bar structure, a so-called 12 bar structure, a 12. Having a dominant chord, the dominant chord is the dominant of Cm7 dots are scale... Used it a more ambiguous sound that many players like to use in their jazz chord... The Ebmaj7 chord is subbed by a Gb7 chord, the V chord learn the most standard. Play it along to the 12-bar form leaving a C major triad ( dominant., and V chords ( although the numerals are lower case roman indicate! Back to the II chord comes around, we will add a bIIImaj7 chord in bar five it used. Dominant reharmonization is something that grew historically, Charlie Parker used it a more sound. New tab by another tone to Ab7, the 4 chord, some of the chord of minor..

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