Blues Progressions For Jazz Musicians - 11 Forms With Analysis & Audio Files
- By Stef Ramin
- On 10/06/2019
- 0 comments
Jazz blues progressions are very common in jazz music however, there is a lot of twelve-bar blues variations based on the typical form. You will see in this lesson how to incorporate major and minor II V I sequences and turnarounds in order to make evolve a basic blues progression. Each chord changes chart contains roman numeral analysis to facilitate transposing them in any key.
Blues Form # 4
Playing a diminished 7 chord (Edim7) in bar 6 instead of a dom chord is a common trick found in many jazz blues tunes.
Blues Form # 6
In this sixth progression the IV7 chord is replaced by a minor chord. This variation can be found in many jazz blues standards.
Blues Form # 7
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, you will notice 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).
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