The seventh blues form contains several variations :
Bar 2 : you hear a diminished 7 chord between the VI (Eb7) and I7 (Bb7) chords.
Bar 4 : A short II V sequence that goes to the IV7 chord (Eb7).
Bar 6 : Once again, a II V cadence resolving to the I chord (Bb7).
Bars 11 & 12 : A turnaround (Bb7 - Gm7 - C7 - F7b9) with a min7 chord.
Blues Form # 8
This is surely the more complex and odd variation of this lesson dedicated to blues progressions.
The first thing you will notice is the Major 7 chord (Bbmaj7) in place of the common dom7 chord.
Then, a number of ii V changes in bars 2, 3, 4, 6, 7 and 8 :
Bar 2 : Am7b5 - D7b9 going to Gm7.
Bar 3 : Gm7 - C7 going to Fm7.
Bar 4 : Fm7 and Bb7 resolving to Eb7 (the IV Chord of Bb7)
In bars 6, 7, 8 there a serie of descending ii V progressions without resolutions :
Ebm7 - Ab7
Dm7 - G7
Dbm7 - Gb7
The chord progression ends with a turnaround starting with a major seventh chord (Bbmaj7).
Blues Form # 9
Once again a diminished passing chord in bar 2.
A ii V sequence in bar 4 and a long VI7 - iim7 -V7 - I7 sequence to finish.
Blues Form # 10
In this tenth example there is a chord substitution (Dm7) for the I7 chord (Bb7) in the turnaround.
Blues Form # 11
Here is the last blues variation of this lesson.
Two new harmonic tips are discussed. A tritone ii V7 substitution for Bb7 (Em7 - A7) and a serie of descending dominant 7 chords (Bb7 - A7 - Ab - G7b9) in bars 7 & 8.
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