Blues Chord Progressions Pdf

Typical boogie woogie bassline on twelve-bar blues progression in C, chord roots in red. Play

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The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.

The 12-Bar Blues Chords. The standard 12-bar blues is a I-IV-V chord progression most typically divided into three four-bar segments. Blues progressions are almost exclusively played in 4/4 time and dominated by the root (I Chord), with the IV and V chords providing that extra bit of flavor to keep things interesting.

This PDF method contains 11 guitar lessons with chord studies, tabs, standard notation, analysis & audio files about the main blues progressions used in jazz music. Mastering the altered scale This PDF eBook method contains 25 altered jazz guitar licks with tabs, patterns, scale charts and audio files to master, apply and develop the altered scale. One-Chord Progressions As the name implies, One-Chord Progressions use just one chord for an entire verse and/or chorus of a song. These progressions are not very common. The blues chord progression lasts 12 bars (thus the phrase “12-bar blues”) that move in a familiar pattern using those three chords. The chart below shows both the chords to play and the pattern to play them in. Now that you know what the chords are, the way you can use them is endless. So now anytime you’re in front of a lead guitar player you are cool, confident and prepared because you’ve mastered these 3 juicy blues chord progressions. Being able to play the blues is a great tool for guitar players and musicians in general to get together, jam, explore, evolve and have a great time.

The blues can be played in any key. Mastery of the blues and rhythm changes are 'critical elements for building a jazz repertoire'.^[1]

2Variations

Standard progressions[edit]

Standard twelve-bar blues progressions variations, in C. (Benward & Saker, 2003, p. 186) Play A, B, C, D, and E as boogie woogie basslines. For example, Robert Johnson's 'Sweet Home Chicago' (1936) uses A.

In the key of C, one basic blues progression (E from above) is as follows.^[2] (For the most commonly used patterns see the section 'Variations', below.)

Different notations
Chord function		Number	Roman numeral
Tonic	T	1	I
Subdominant	S	4	IV
Dominant	D	5	V

Chords may be also represented by a few different notation systems such as sheet music and electronic music. A basic example of the progression would look like this, using T to indicate the tonic, S for the subdominant, and D for the dominant, and representing one chord. In Roman numeral analysis the tonic is called the I, the sub-dominant the IV, and the dominant the V. (These three chords are the basis of thousands of pop songs, which thus often have a blues sound even without using the classical twelve-bar form.)

Using said notations, the chord progression outlined above can be represented as follows.^[3]

Functional notation:
T	T	T	T
S	S	T	T
D	D	T	T

Roman-numeral notation:
I	I	I	I
IV	IV	I	I
V	V	I	I

The first line takes four bars, as do the remaining two lines, for a total of twelve bars. However, the vocal or lead phrases, though they often come in threes, do not coincide with the above three lines or sections. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues.

Variations[edit]

'W.C. Handy, 'the Father of the Blues', codified this blues form to help musicians communicate chord changes.'^[4] Many variations are possible. The length of sections may be varied to create eight-bar blues or sixteen-bar blues. Fl studio cracked download windows 10.

Shuffle blues[edit]

In the original form, the dominant chord continued through the tenth bar; later on the V–IV–I–I 'shuffle blues' pattern became standard in the third set of four bars:^[5]

I	I	I	I
IV	IV	I	I
V	IV	I	I

Play

Quick to four[edit]

The common quick to four or quick-change (or quick four^[6]) variation uses the subdominant chord in the second bar:

These variations are not mutually exclusive; the rules for generating them may be combined with one another (or with others not listed) to generate more complex variations.

Seventh chords[edit]

Seventh chords are often used just before a change, and more changes can be added. A more complicated example might look like this, where '7' indicates a seventh chord:

I	IV	I	I⁷
IV	IV⁷	I	I⁷
V	IV	I	V⁷

With turnarounds[edit]

When the last bar contains the dominant, that bar may be called a turnaround:

Basic jazz blues progression
I⁷	IV⁷♯IV^o⁷	I⁷	v⁷ I⁷
IV⁷	♯IV^o⁷	I⁷	iii⁷ VI⁷
ii⁷	V⁷	iii⁷ VI⁷	II⁷ V⁷

Play

In jazz, twelve-bar blues progressions are expanded with moving substitutions and chordal variations. The cadence (or last four measures) uniquely leads to the root by perfect intervals of fourths.

Otherwise the last four measures is the blues turnaround, this (with or without seventh chords) is probably the most common form in modern blues-rock. Asta powerproject user manual.

Basic blues turnaround
I	IV	I	I
IV	IV	I	I
V	IV	I	V

Bebop blues[edit]

The Bebop blues is:^[7]

I⁷	IV⁷	I⁷	v⁷ I⁷
IV⁷	♯IV^o⁷	I⁷	V/ii^♭9
ii⁷	V⁷	I⁷ V/ii^♭9	ii7 V⁷

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Basic Blues Chord Progressions

This progression is similar to Charlie Parker's 'Now's the Time', 'Billie's Bounce', Sonny Rollins's 'Tenor Madness', and many other bop tunes.^[7] 'It is a bop soloist's cliche to arpeggiate this chord [A^7♭9 (V/ii = VI^7♭9)] from the 3 up to the ♭9.'^[7]

Minor blues[edit]

There are also minor twelve-bar blues, such as John Coltrane's 'Equinox' and 'Mr. P.C.',^[8] and 'Why Don't You Do Right?', made famous by Lil Green with Big Bill Broonzy and then Peggy Lee with the Benny Goodman Orchestra.^{[citation needed]} The chord on the fifth scale degree may be major (V⁷) or minor (v⁷), in which case it fits a dorian scale along with the minor i⁷ and iv⁷ chords, creating a modal feeling.^[8] Major and minor can also be mixed together, a signature characteristic of the music of Charles Brown.^[9]

Minor blues (Spitzer 2001, p. 63)

i⁷	i⁷	i⁷	i⁷
iv⁷	iv⁷	i⁷	i⁷
♭VI⁷	V⁷	i⁷	i⁷

Play