With this knowledge you will be able to go out and play any kind of common jazz blues progression. Any progressions associated to Bb7 have to refer to the tonic scale that the the dominant chord (Bb7) itself is constructed from. I only did not understand in the last diagram (bebop cycle), where comes from the Eb-7 Ab7 chords in the 5 bar. 8 Bar Blues & 12 Bar Blues. Blues musicians such as Charlie Patton often recorded blues tunes with only one or two chords! Tas, excellent explanation of the intricacies of the blues. (just jumbled up). More jazz blues chord substitutions videos. Thanks again. The blues utilizes the devil's interval, the flatted seventh (hence the minor pentatonic scale). :) I take care of such info a lot. Jazz musicians frequently use substitutions to add more harmonic content and colour to a progression and this next example uses tritone substitution. Although related one is more difficult to handle and get as much mileage from than the other. Joe covers bebop blues, new chord substitutions, pedal tones, jazz/blues improvisation and much more. Any chance of getting chord diagrams? Future Publishing Limited Quay House, The Ambury, I'm under the impression that the exercise is in the key of B flat: therefore C minor 7 to G 7. :). “Blues is to jazz what yeast is to bread. We can't have a discussion about jazz chord progressions without talking about the blues. There is now a ‘quick change’ in bar 2 which just means that the progression briefly visits the IV chord, Eb7, for a bar to create more movement. Note 4 note explanation. And if we drop the root? It’s known to include many chord substitutions based around the skeleton form shown above. The flat 7 on each chord contributes to that bluesy sound. This musical journey illustrates how blues becomes jazz through the use of passing chords, cycle progressions and harmonic substitutions. TaS, Hi, great website ! Analyse the chord progression (bar numbers shown underneath the staff for reference). Essentially, bars 11 and 12 are a I-VI-ii-V chord progression. Bath The chord here was D-7b5 which has now been replaced with Ab7. Standard bebop progressions such as the rhythm changes are based of such techniques which can also be applied to the blues. In case you're not seeing the connecting dots yet, Bb7 is the chord built from the 5th note/degree of the Eb major diatonic scale. I would appreciate it if all these chords could have their diagrams featured at the end fo the article. The standard form has been used countless times through the blues genre, but also in all forms of music that have built from those roots. All rights reserved. Thank you for signing up to Guitar World. Will you show in detail the fingering please ? Likewise, there have surely been times where you've heard someone play the blues and thought that it sounds way cooler than how it does when you play off of a lead sheet. • Another “quick change to the four” (C7) is the second half of bar 7, which creates a stronger “push” toward Bm7 in bar 8 than does approaching it with a full bar of G7. Sure check out this lesson: https://www.youtube.com/watch?v=QdUrzoo3x-4&t=538s&ab_channel=JamieHolroydGuitar, Check out my article on I VI II V’s substitutions, LJGP 01: 5 Essential Solo Jazz Guitar Tips, 10 Must Know Jazz Standards Every Guitarist Should Know, Introduction to Jazz Guitar Improvisation. It’s common jazz practice to add #I diminished chord in progressions. You won't believe how much it will help you as a player. Colorful Jazz-Blues Chord Substitutions. But what about Eb-7 - Ab7? In bar 4 there is now a ii-V-I progression into Eb7 to add more harmonic and bass note movement. For example, if you're playing in the key of C, the V chord is G7 and the ii chord is Dm7. There’s a bit of a tritone feast in the last couple of bars starting with the B7 in bar 9. © Hey Jeremy! Hey Bruce this is TaS here... What I do sometimes when there're no transcriptions (staff or tab) being offered, I'll enlarge the YouTube video to full screen and then use the pause and play button on screen or the keyboard shortcut (on my PC it's the letter (k), or the space bar. But when the iii replaces the I, it becomes Emin7-Amin7-Dmin7-G7. The iim7-V7-Imaj7 progression can be found in countless tunes and is essential learning for anyone exploring jazz guitar. Tritone substitution is applied again at the beginning of bar 8. Eb G Bb Db E Is everything that has been suggested here also good if it was Bbm7, Ebm7 and F7 the i-iv-V ? Very nice lesson...I'm starting to dig some subs and this is perfect to me now!!! : A great part of the blues progression to apply this technique to is bar 7. This is going to mean a night of referencing my chord book (in The Guitar Handbook by Ralph Denyer, whose pages have partially stuck together when it got wet) , before I can even begin to tackle this lesson. They later learned to change the subject to singing about loses in love and romance to avoid the beatings) evolved from African American Gospel music. You've got a typo in the paragraph that introduces the #IV diminished. Pimp the 12 bar stand major blues with diminished chords, altered chords and dominant 9 and 13 Experiment with and select some suitable tritone substitutions. You could even apply this technique on a single bar of a dominant chord as well. So if we interpret the Fb as E we now have Eb7b9 as: 1. In the past I've introduced the 12-bar jazz-blues progression, which is a more musically sophisticated cousin of the simpler “one-four-five” blues chord changes that most people are familiar with and serves as a more harmonically ambitious framework that jazz musicians almost universally prefer to solo over and use as a vehicle for improvising rich, colorful melodies that allude to interesting chord substitutions. Besides being a great form for playing blues licks over, the blues also works great for more harmonically ambiguous techniques such as jazz blues chords substitutions and was a favorite progression of bebop musician Charlie Parker. Every artist tries to give an original interpretation of the Minor Blues using … Thanks for sharing your knowledge. It would take a long time for me to write out all the chords, but if you check out my "30 Days to Better Jazz Guitar Comping" series you should more than equipped to play any of these chords. A Bird Blues is a bit beyond the scope of this lesson. Bebop jazz guitarists love to create as much cyclic movement and ii-V’s as possible and this last example shows the most harmonically adventerous version of how to apply jazz blues chord substitutions in this lesson. So instead of C-F-G7, play C-Dm7-G7. The blues is an important ingredient of jazz music, and it’s one of the guitarist’s favorite forms to comp and blow on. So, if you’re coming from a traditional blues background and want to add some jazz chords to your comping this might help you identify with the sounds of blues guitarists like Little Charley Batty who frequently uses bebop changes in the blues. If the substitute chord contains the 3rd and the 7th of the substituted chord, the two chords will h… The next example uses everything discussed so far in full form so it’s important that you understand the techniques discussed before moving on. So if you're trying to get to the mountain top, you ride the minor blues, if you're trying to go to town, saddle up your horse! This lesson explains some of the different jazz blues chord substitutions that jazz musicians play, starting with a simple I IV V blues and moving right up to a harmonically dense Parker style blues. Basic Blues Chords. We have covered the common chord substitutions and some terminology. To extend this I have added a ii chord (Bb-7) to the Eb7 in bar 5 so that we have a prolonged turnaround. This time we’ll talk about Minor Blues. The blues, (originally called the blows by African American slaves, because that's what they would receive for complaining about the conditions the slave Master or slave driver kept them under. Jamie - good lesson! ii-V sub: Substitute ii for IV, so that you have a ii-V turnaround. Plenty of traditional blues players use this movement, especially on slow blues tunes. In the previous lesson on Shell Chords, we learned that you don’t always have to play every single note in a chord. I hope this guide to jazz blues chord substitutions has been useful. The turnaround at the end now has a VI chord added in bar 11. In the first four bars of the progression I have added ii-V’s that desend in tones that eventually resolve in bar 5. Audio 12. Functional means that a dominant chord is substituting for a dominant chord and is still functioning in the same way … In the below example I have added the V chord which belongs to the iii chord to create cyclic movement. What was the F7 in bar 9 has now been changed to a C-7 so that have a more conventional ii-V-I in the key of Bb7. Besides acting as a substitution for … Theory + guitar chords +TABS! Sometimes it’s also called a “Bebop Blues”. FIGURE 1 is traditional “flat-four” comp (accompaniment) figure that’s a variation on FIGURE 2 from last month’s column and offers additional examples of chord substitutions that learned guitarists will add to a jazz-blues progression, with numerous subtle variations, in a two-guitar jam (no bassist or drummer). As the title suggests there are only 3 chords in this progression, the I, IV, and V. Believe it or not this progression would have actually been considered harmonically advanced in the 1920’s. A similar move occurs in bar 8, in this case with a “two-five to two.” Here, we approach the two chord, Am7, with Bm7 and E7. This is particular effective in a blues situation. It’s called a Bird Blues. Besides acting as a substitution for the I chord, the iii chord also belongs to a ii-V. F-7 can also be seen as a Bb7sus chord, so the Bb7 tonality isn’t really changing which  much which means you can still use bluesy ideas or imply a V-I cadence into the Eb7 if you want to. A common substitute in jazz is replacing the I chord (Bb in this case) with it’s iii (D-7). This is far and away the easiest and most common substitution, … The ii–V change is ubiquitous in jazz, and the blues progression is no exception. For this same reason chords can be substituted. This adds interest and color to the bass line’s root motion, with smoothly descending chromatic movement used instead of angular down-a-fifth or up-a-fourth resolutions. Guitar tutorial. Very helpful information particularly the last phase The F-7 Bb7 is there because it is a ii-V in Eb. England and Wales company registration number 2008885. Remember that Fb = E! It(the Bebop cycle) just sounds good! I also added an A7 in the beat before so that we have chromatically descending dominant 7th chords. Tritone substitution is a reharmonisation technique that can be used to add harmonic interest and variety to a chord progression. A diminished 7 chord has been added in bar 5, Hello Jamie Notice that a minor ii-V-I has been added in bar 8. Truly enjoyed your jazz blues progression lesson. A much better idea than constantly looking up chords and memorizing them is to figure out how to build them on your own. Now go blues out. This type of chord movement can be heard in Charlie Parker’s famouns bebop blues progression ‘Blues for Alice’. It can also be used in other genres of music. • The “sharp-four diminished seven” chord in bar 6 (C#dim7), which is an outgrowth of the four chord (C7) that builds dramatic tension, which then resolves satisfyingly back to the one chord (G7) in bar 7. Now we can see that these are exactly the same notes contained in our original Eo7 chord! Are the substitutions the same ? When playing on a common blues progression, you normally play I7-IV7-I7-I7 in the first four bars of the tune. Or am I really off base here? If you’re a blues player who is just getting into jazz this progression make seem a little daunting at first. You will receive a verification email shortly. Without it, it’s flat.” —Carmen McRae. They use the same progression, I, IV, V, but Gospel music uses major 6th chords (this is where the major pentatonic scale, sometimes used in the blues, and the #IV diminished7 chord used to indicate an elevation in feeling/or spirit came from. Three: A comprehensive series of twelve-bar chord progressions that range from a basic three chord blues to the most advanced, multi-chord jazz arrangements. BA1 1UA. After working with this YGB Case Study you will be able to: Yellow Guitar Books Case Study - Blues To Jazz Substitutions I Understand the form and construction of a 12 Bar Blues. We start with some simple examples and we gradually apply more complex and sophisticated substitutions. In the past I've introduced the 12-bar jazz-blues progression, which is a more musically sophisticated cousin of the simpler “one-four-five” blues chord changes that most people are familiar with and serves as a more harmonically ambitious framework that jazz musicians almost universally prefer to solo over and use as a vehicle for improvising rich, … As with all examples, the easiest place to start is by using a C Major chord.

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