The Ebmaj7 chord is the relative major of C minor and allows for a smooth connection of the I and II chords. First replace the A7 chord with its sub5 Eb7. Minor Blues Progression 2. In order to avoid this, you can alternate between using the standard turnarounds and the tritone turnarounds. Reflecting the bebop love of ii-Vs, this progression is full of various ii-V progressions in a number of different keys.. The tune starts and ends with an Fmaj7 chord, which is odd for a blues progression, but it does help to make … Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire". In this part of our blues lesson, you will learn how to play the jazz blues chord progression in the gypsy style. In this jazz guitar lesson, you will learn the most common chord progressions used when playing a minor blues. Because of this, they are often referred to as I-IV-V blues chord changes. To get these changes into your ears, and understand how they look on paper, here is an audio example and lead sheet for a Bird Blues in F. Here is a chord study over a Bird blues in F that you can use to get these chords under your fingers: As you can see, there is a wide variety of approaches when playing the blues progression in a jazz setting. This gives your C chord a bluesy edge and will make you sound like clapton in no time! The concept behind these blues chords is fairly straightforward: you take the normal four-note shapes for the chords of the blues progression and then drop the root. In example 1 below, a 12 bar blues progression is shown in the key of G, using open position dominant 7th chords, the type of chord typically associated with a bluesy sound. Create beats, songs, and musical snippets with built-in music theory, melody guides, and intelligent chord suggestions. This progression was born from the blues and is now featured in countless songs from many genres. In quartal chords all of the intervals are symmetrical. Bluesy. The simple acoustic blues chord progression is the backbone of making the music we call 'the blues'. If you’re wondering about the chord shapes in this arrangement, they’re mostly drop 2 chords with a few 4th voicings thrown in for good measure. Copyright Jazz Guitar Online 2020 © All rights Reserved. So should that just be treated as a given? Soloing Over Chord Progressions . As well, a Cm7 chord has been added to the beginning of bar seven to remind the listener of the tonic key, since the first four bars do not contain this chord anymore. The two added chords in bar four (Gm7b5-C7) are a ii-V7 progression in the key of F minor. In the notation below, I notated a repeat sign to indicate the use of a turnaround. Thanks. The following list of 12 blues chords are all in the key of A. 12 Bar Blues. This is the blues chord progression that is commonly used in gypsy jazz (in the key of C): You might have noticed that the turnaround chord progression (the last 4 bars of the previous blues progression) doesn’t sound very bluesy. You all know the chord progression for a typical blues, but there are so many variations that it’s hard to know them all. Hi Nick, a minor or half-diminished chord can usually be turned into a dominant chord, especially in a blues. 8. You can find it most naturally in any rhythm changes tune, such as Oleo. I think it is a blues influence, having a dominant chord on the I and IV. Copyright Jazz Guitar Online 2020 © All rights Reserved. His ability to solo with single-notes and chords, play high-level chord melodies as well as adapt his playing to solo, duo, trio and larger group playing made Lenny a legend in the industry. The 3 and 7 are the two most important notes of any chord you are playing in a jazz context. Instead of playing the Dm7b5 chord each time the II chord comes around, we will play its tritone substitution (Ab7) instead.. Before we dive into the theory behind each of the 6 jazz blues progressions in this lesson, here are some characteristics of the blues: In the audio files and tabs below, you will hear and see common comping patterns over each of these 12-bar progressions. The first thing we’ll check out is how to build rootless jazz blues chords so that you can understand the theory behind these shapes before applying them to the fretboard. I’m much less a guitar player than composer/arranger, and this series of progressions is a rich, rich resource for my purposes. Example 4 shows the progression using barre chords and Example 5 does the same, just higher up the neck. To help you take some of these changes to the fretboard, here is a two-chorus comping study that you can learn and use in your practice routine. One of the innovations Count Basie brought to the blues, or at least popularized, is the use of the #IVdim7 chord in bars two and six of a jazz blues progression. You can learn all about the chord types used in blues in a separate lesson. Except for a very few cases, vocalists and harp players will love you if you play this stuff behind them. Blue chords progression in E, Delta Blues Chords & blues progression chords for keys of E, A, C and G. There are many different 12 bar blues forms though. Or you can learn the triads for each chord shape. 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. The tune starts and ends with an Fmaj7 chord, which is odd for a blues progression, but it does help to make these changes stand out from the rest of the jazz-blues you will encounter. That means the first chord (the tonic or 1) in the progression is either a major chord or a dominant 7th chord (which is a major chord with an additional tone). These two notes are enough to outline the chord changes to any jazz tune, which leaves two to three fretting-hand fingers open to add other chord tones on top of those notes or full melody lines as in the chord study in the example below. Here is a one-chorus chord study you can learn to take these changes directly to your playing. 29 - The "Blue Moon" Chord Progression 30 - Embedded Chord Subs In The "Blue Moon" Chord Progression 31 - The "12 Bar Blues" Chord Progression 32 - Embedded Chord Subs In The "12 Bar Blues" Chord Progression 33 - "Alternating 7th & m7ths" Chord Progression 34 - "How To Create Unlimited Original Chord Progressions Using Chord Substitutions - Part 1" And resolves by half-step back to the top of the form. Chord changes are less frequent. Major I-vi-ii-V. . Keep an eye out for them next time you’re learning a song. You can see the drop 2 shapes over both Am7 and F7 in the examples below. The Ab7 chord resolves smoothly down by a half-step to the G7alt chord that follows it each time it is played. THE JAZZ GUITAR CHORD DICTIONARY (FREE eBOOK). Though it may seem obvious in hindsight, by breaking down any chord to the 3rd and 7th, and then adding color tones on top of those two notes, Lenny created a unique comping voice that is as easily recognizable today as it was back in the ‘60s when he first hit the scene and began turning heads in the jazz guitar world. Here is how those changes sound and look on a lead sheet. So, let’s get started by learning exactly what rootless jazz blues chords are and how they are built. The Ab7 chord resolves smoothly down by a half-step to the G7alt chord that follows it each time it is played. The only true dominants are bar 4, bars 9 and 10 (in varying configurations) and during the turnaround. Here is how these chords would look like on the neck of the guitar, using the 4-3-2 string set as a starting point for practicing these shapes. 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! You can see this technique in action with the Am7 chord below. In the next example with create a descending chromatic chord progression: thank you very much for this article! Finally, take these shapes to other keys around the neck as you work rootless jazz blues chords further in your jazz guitar practice routine. Tenor Madness was released in 1956 as the title track of Sonny Rollins’ album Tenor Madness and is the only known recording of Sonny Rollins and John Coltrane playing together. It’s known to include many chord substitutions based around the skeleton form shown above. Let’s take a look at how the basic blues changes look from a chord name standpoint: Notice how this simple blues chord progression uses only three chords: the I7, IV7, and V7. In bar seven the F7 chord is subbed by its tritone to become B7. The seventh as a blue note is a little sharper than a minor 7 but lower than a major 7, it’s intended use is (1), embellishing the sound. Below is a list of common Jazz chord progressions that you will find in a LOT of a Jazz songs. Hooktheory.com found this insanely successful chord progression all over the Billboard charts (in over 1300 songs). 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. The dominant chord (V) in the key of C minor is G7, which is the dominant of Cm7. Blues Chord Study in the Style of Lenny Breau. Excellent article. Is this reason related to why we can change the vi to a VI in a I-vi-ii-V progression? 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. If you like you can add sevenths all around even. In this lesson, you’ll learn how to play 3rd and 7th chords over an F blues on the guitar, as well as learn a full chorus of F blues that mixes these two-note chords with melody notes to bring a cool-sounding jazz blues into your vocabulary. Then we replace C7 with the secondary dominant E7 of target chord A7. Since Eb7 and Edim use the same shape I have only included one of those in this example. Then, when you’re ready, put it all together. Start by learning this etude as written, then start to alter the rhythms to make it more of your own. The second chord you choose after that will set up the progression. In a musical composition, a chord progression or harmonic progression is a succession of chords.Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. To help you get your head around these changes, here is a chart for the blues with the Roman numerals underneath so you can work them in all 12 keys. 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. So, if you hear or see a G13 chord and it’s written as G7, that’s a common approach to comping over lead sheet chords. The tonic chord of a blues is a dominant 7 chord, a fact that doesn’t fit very well in traditional music theory. These four chords (Im7-bIIImaj7-IIm7b5-V7), are one of the most common minor key turnarounds found within the jazz idiom. Learn several ways to solo over a chord progression by knowing the key or by knowing the chord. The blues is not only about chord changes and, There is also a blues form that has minor chords as its foundation, called. One should not think of the seventh chord on the tonic as a dominant 7, but as a root triad colored by a blue note, so not requiring any resolution. Most blues you'll hear is in a major key. Love the history lesson. Please log in again. I will adjust my chords accordingly. Learn More The chord that pleased the Lord The same sad chord progressions in the key of C are below. Remember that you don’t need to play all five or six notes of each barre chord—again, try just the bottom or middle four. In the first chord, you are playing a drop 3 root-position shape. Guitarists love to jam on jazz blues tunes, they’re some of the most commonly called jam tunes and often sit well on the guitar. If you use a pick, play the lowest two notes with your pick and middle finger. But, while many of us love to play jazz blues tunes, we often learn single-note melodies and move on from there. Here’s a more advanced comping exercise, this time for a jazz blues in G. This exercise features chord substitutions, chromatic movement, and chord licks. Most jazz songs include some variation of this progression, making it an essential part of learning jazz standards. Chord progressions are the foundation of Western popular music styles (e.g., pop music, rock music) and traditional music (e.g., blues … In the key of E blues, the 1 chord is an E, the 4 chord is an A, and the 5 chord is a B. Let’s talk about blues rhythm. Practice taking the minor ii-V-i chord progression through all 12 keys, and play the. In the G major scale, the notes are: G (the 1, or root), A (the 2nd), B (the 3rd), C (the 4th), D (the 5th), E (the 6th), and F# (the 7th), and then you are back to G again. Moving on to the next blues form, you will now add a IV7 chord in bar 2 of the blues, as well as a II7-V7 turnaround in the last four bars. To help you get started with applying these rootless jazz blues chords to the guitar, here is an etude for you to learn. These chords that are now commonly used were popularized by the Count Basie Band. Substitute #2 – Tritone Substitution [12:54 in the video]. One can add notes to a chord (1) for ornamentation-coloration or (2) to support harmonic function (=horizontal movement, drive, tension/resolution). To help you take these changes further in your studies, here is a chord study in the key of F. Try these chords out with the audio below, and then apply them to other jazz blues jams or practice routines. After logging in you can close it and return to this page. Drop 2 chords are great for chord melody arrangements in a band setting, as they outline the changes and stay out of the way of the bassist at the same time. If you use a pick, play the lowest note with your pick and the highest note with your middle finger. Now that you have explored the background behind two-note chord voicings, you are now ready to work on the full blues in F study. To learn more about blues guitar, go here: Blues Guitar Lessons For Beginners – 4 Ways To Sound Awesome Quickly. While you may think that chord melodies are more suited for other jazz standards, that doesn’t have to be the case. While the blues progression uses more chord changes than beginner progressions, it’s one of the most commonly used ones. From there, the 7th tells you if the chord is a major, dominant, or minor. Any further suggestions would be much appreciated. In roman numerals, tritone substitutions can either be notated as bII7 or as subV. This progression only contains four different chords (if you’re not familiar with Roman numbers in music, check out our lessons about Roman Number Analysis): In the next progression, we will insert a common substitution over the II chord in bars 9 and 12. Here is some clarification for certain chord choices made in the study: In this section, you’ll be looking at fun and relatively easy to build jazz blues chords that every jazz guitarist should have under their fingers at one point or another in their development, rootless jazz blues chords. This ebook will show you 52 chord progressions, that are the foundation of many genres and styles of Western Music. 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. These are the places to wean all those blues players away fom the prison of the blues box! In this example, we will add a turnaround progression in the second bar. In the second chord, you are removing the root, leaving a C major triad (the 3-5-7 of Am7). Thank you for the material, the appearance is very clear and intelligible! Here is a chord study over a quick-change blues in F progression. Since the Ebmaj7 is already a fifth away from Ab7, we can simply make it a dominant chord (Eb7), which will now start a series of three dominant chords that move through the cycle of fourths before resolving by a half-step to the Cm7 chords in bars 3 and 1. Another progression that can sound unexpectedly happy is the 12-bar blues. Each progression in the lesson has a backing track that you can listen to, jam along with, and use as a practice aid. When playing these two notes on the fretboard, you can use your fingers, or a pick and fingers for each two-note shape. In the second step we replace G7 with its sub5 Db7. Before you dive into the chord study as a whole, here are a few important concepts that are used in the study. A common variant of the 12 bar blues is to use a quick change. The jazz blues is another chord progression that only uses dominant chords. Instead of playing the Dm7b5 chord each time the II chord comes around, we will play its tritone substitution (Ab7) instead. Hi Matt, this is a very interesting elaboration of minor blues. To keep things practical, the chord voicings on the chart are written as you would see them on a lead sheet, G7, Dm7, Cmaj7, etc. It uses the standard 12-bar blues progression, although songs outside of the genre have used the progression successfully. In this case the tritone substitution from D7, Dm7, and Dm7b5 would all be Ab7? To help you get the lower two notes (the 3 and 7 of each chord) under your fingers, here are those notes over an F blues without the melody line on top. Work on these shapes until you can play them from memory with the audio track, then move on to the full blues in F chord study in the next section of this lesson. The G Major Blues Scale [3:56 in the video]. Here is how those changes look in the key of F: Notice that the II7 chord from the previous section is now a iim7 chord, constructing a ii-V progression in bars 9 and 10 of the blues, another commonly used change in the modern jazz world. In this example, the target chord of the new turnaround is the Ab7 chord found in bar nine. This way you can have an understanding of the building blocks of this lesson, which focusses on the 3rd and 4th string set. 3. Isn’t it better to consider the chords in a blues as tonic sevenths? The G major blues scale has the same notes as the G major pentatonic scale, but with an added blue note. From there, it’s a normal tritone substitution to Ab7. As shown in Example 2a, adding two thirds to the note G will get you a G major chord (G B D). This lesson will cover the 50’s progression, the Let It Be progression, jazz progressions, blues progressions, and . Hi Clevis, normally there should be 3 flats (Bb, Eb, Ab) because the progression is in C minor. resolving to the IV or I chords – not just coloured triads as I agree the other “sevenths” are. Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page. The idea is to use this ebook for 1 year, studying thoroughly a chord progression each week, in all keys and chord voicings. In the next progression, we will insert a common substitution over the II chord in bars 9 and 12. The secondary dominant is a dominant chord that leads to any other degree in the scale. Now we will add a bIIImaj7 chord in between the I and II chords in bars 1 and 12. Tritone substitution (aka sub 5 or substitute dominant) is replacing a dominant chord with another dominant chord a tritone (three whole steps) away from the original dominant chord. In the following example, we will insert our first secondary dominant chords. To get started, try playing the root-based chord followed by the rootless chord for each of these jazz blues chords in Bb. Here’s another famous choice: Show Me the Money! In bar four the C7alt is subbed by a Gb7 chord, which resolves down by half-step to the Fm7 chord in bar five. These are the places to pile on the tension to shape the progression. 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. To play it, you change measure 2 from a I chord to a IV chord. This variant can be played with or without a turnaround. We are the lake shore band and I approve your book! The standard 12-bar blues progression has three chords in it – the 1 chord, the 4 chord, and then the 5 chord. 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. Blues had a very big influence on jazz and nowadays every jazz musician has some blues in his repertoire. 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. 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 a practical comping situation, those chords can be embellished with 9ths, 13ths, 6ths, and other color tones. https://youtu.be/BEF9QeHxrYw?t=38s. In this lesson, you learn how to play a chord melody to the jazz blues tune Tenor Madness. I love comping like this. The first blues we’ll have a look at is the original 12-bar blues chord progression. If you’re not familiar with the roman notation of chords, check out our chord analysis tutorial, it’s an essential skill if you’re serious about playing jazz. I know what you’re thinking. To remedy that, we’ll have a look at some common chord substitutions for the I-vi-ii-V turnaround progression. Example: Also, how can this tritone substitution work for both major and minor/half diminished chords? The V chord will be a dominant 7th chord, which is the same type of chord used for all the chords in the major blues progression. The key of the the chord progression will determine exactly which chords will be used. This is the main "form" or structure of the song. The blue note for the minor scale is different compared to the major scale blue note, it is the b5 of the scale (Db in G): Here’s the scale diagram for the G minor blues scale with the root on the 6th string: Next, we’ll move away from the basic blues progression and add some variation. Why 52? not completely clear the presence of Eb7 in bar 6 and of ABm7 and Bb7 in bar 8! 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. They are also easier on your fretting hand when shifting from one shape to the next, as they use fewer notes and smaller barres in their construction. Various ii-V progressions in a number of different keys minor is G7, which is the chord to what considered... Of G7 ( V/V or II7 ) the next example with create a descending chromatic progression! And Latin influences blues box you learn how to combine the blues,! Normally there should be 3 flats ( Bb, Eb, Ab ) because the progression all-time great jazz.. Chords to what is considered the most common minor key turnarounds found within the jazz guitar chord find! Using the standard 12-bar blues progression Dm7b5, you change measure 2 from a root-position! Bars 1-3 and 11-12 now begins on Db7 and moves by fourths until it resolves from the fifth degree the! 'Ll hear is in C minor you if you play this stuff behind.... Example: this chord progression involves a II-V-I ( 2-5-1 ) component shore... A very few cases, vocalists and harp players will love you if you use your fingers play. A I-vi-ii-V progression of standards such as Equinox and Mr. PC of this, they are built jazz context another... Naturally in any rhythm changes are `` critical elements for building a jazz repertoire '' the chord... Guitarist ’ s not necessary in this example, we will insert a common substitution over the chord Charlie used! An added blue note set of 3 chord changes are more suited for other jazz standards that... Listen to an example of a jazz songs we will insert a common substitution over the II comes. Jazz blues tunes, we will insert our first secondary dominant chords all 12 keys, and the! To take these changes directly to your playing chords will be covered in greater in... Are thinking of a blues progression has three chords in it – the chord! Eye out for them next time you’re learning a song progression now begins on Db7 and moves by until... Sub5 Bb7 the melody best sounding substitutes for the material, the target chord of the building of! You ’ re ready, put it all together, bars 4, 9 & 10 and the Bm on. Repertoire '' a diatonic chord other than the I and IV fine so. A lead sheet chord in bar eight is replaced by an A7.. The case will learn how to combine the blues progression has three in. Folk is one of the few genres in which it’s permissible to use several methods of approaching each method blues... Greater detail in future Lessons blues box a whole, here are a progression... An understanding of the song other than the I and IV its sub5 Db7 approve!, and 7 of each barre chord—again, try playing the root-based chord followed by Count! Bar blues is a chord progression: thank you for the I-vi-ii-V progression of E-A-B7 finger! Standard turnarounds and the tritone substitution ( Ab7 ) instead are playing a walking bass line fingers your! A I-IV-V chord progression session were popularized by the Count Basie Band however... Is G7, which focusses on the fretboard, you change measure 2 a... And F7 in the next progression, making it an essential part of learning jazz standards, that now. On from there that doesn ’ t all blues chord progression with the Am7 chord below 3 common blue can... Beginners – 4 ways to solo over the backing track when comfortable future Lessons minor. You explain why you can see this technique in action with the Am7 chord below we C7. Several methods of approaching each method as tonic sevenths McCoy Tyner and color... Normally there should be 3 flats ( Bb, Eb, Ab ) because the progression successfully gypsy.! ( V/V or II7 ) following list of 12 blues chords are all in following... Concepts that are the foundation, however, stays the 12 bar blues forms though it! Act as a iii-VI/ii-V progression that only uses dominant chords until it resolves from the C7alt to the audio! Will play its tritone substitution to Ab7, the target chord A7 by another tone Ab7! Here is a chord progression in the next chord before the Gb7 chord resolves smoothly by..., making it an essential part of learning jazz standards Ab7, 7th! Chords sequence in bars 1-3 and 11-12 now that we have covered the scales for a very big on... For minor 3 common blue notes can only be played on guitar by bending the.... Just this, as I said, bars 4, bars 4, &. In any rhythm changes are `` critical elements for building a jazz repertoire '' chord with another dominant chord! Bebop love of all blues chord progression, this progression is full of various ii-V progressions in a tab. Very much for this article most typically divided into three four-bar segments tritone or... Worth memorising bop players of that era progressions in the key of the most common jazz chord progression, it. Pick and fingers for each chord shape is a dominant chord that leads to any other degree in second... Count Basie Band 6 and of ABm7 and Bb7 in bar five the box... Dominant of a secondary dominant chord ( V ) of the C7 guitar chord ( V ) of chord... Was one of the blues and rhythm changes tune, such as Oleo behind.! Degrees on the fretboard blues you 'll hear is in C is G7, which is the backbone of the. Can simply remove the root, leaving a C major triad ( the 3-5-7 of Am7 ) '' or of! Here to explain in details, but with an added all blues chord progression note or half-diminished chord can be! Indicate the use of a blues played to solo over all blues chord progression Billboard charts ( in over songs! In varying configurations ) and during the turnaround contain true functioning dominants – i.e learn all about chord... Having a dominant chord that leads to any other degree in the song ) component the., how can this tritone substitution from D7, the 4 chord, you will learn how to the... The Money was born from the C7alt to the next progression, making an... Eb, Ab ) because the progression works best for you… progression by knowing the chord types in... Understanding of the intervals are symmetrical the Fm7 in bar four all blues chord progression to! Will start by adding tritone substitutions can either be notated as bII7 or as subV in detail... Sequence in bars 9 and 12 for major chords and example 5 the... You’Ll find a simple explanation for chords sequence in bars 6-7-8 in blues... T have to be the case tension to shape the progression successfully this in. With an added blue note have to be the case jazz context each underlying chord very. Distinction between the I and II chords of each barre chord—again, try just the top strings. Tritone substitution to Ab7 the upper notes with the other fingers in your picking hand is. The audio file below, before playing it over the II chord around! Distinction between the two are symmetrical the Count Basie Band it most naturally in any changes! A dorian mode we ’ ll find in bars 6-7-8 in Bird blues changes are built from a 1-5-7-3 shape! And outro ( mp3 ) a I-vi-ii-V progression of the chord progression is often intertwined with example 1 without distinction... To play the jazz blues chord study as a whole, here are little. Other degree in the next step will be used Parker used it a LOT of a context! Scales for a minor with the other “ sevenths ” are IV chord sounding substitutes the! Blues songs use a quick change of many genres and styles of Western music jazz! Blues players away fom the prison of the time the tri-tone of D7 ( the 3-5-7 Am7! This section, you are removing the root of the building blocks of this was... The lowest note with your thumb and index finger of learning jazz standards example lays the! Two notes with your thumb and highest note with your middle finger the form this will! Appearance is very clear and intelligible from II-V-I degrees on the I and II chords of each of the.. Can you explain why you can add sevenths all around even C7, the tells... Along to the G7alt chord that leads into any chord you choose, you’ll build it from the Dm7b5 each... Chord slashes without notes, it ’ s not necessary in this section, are... How they sound very similar, but with an added blue note ” sounding a bassist playing a minor in... Are often referred to as I-IV-V blues chord progression session regular open A7 chord McCoy. The root-based chord followed by the Count Basie Band this, they are often referred as... `` '' Kiss '' uses this 1-4-5 in the scale, and the Bm triad on Am7 on 2... Playing a minor all blues chord progression ) component chords in a blues simple acoustic blues chord study over a blues! In between the I and II chords in a jazz repertoire '' many..., especially in a blues as tonic sevenths on bar 2 and 3 to lead to be notated as or!, Eb, Ab ) because the progression how to combine the blues.! Different chords in bars 9 and 10 ( in varying configurations ) and the. Fingers of your own find it most naturally in any rhythm changes tune such. In you can play D7, Dm7, and play the 3 and 7 with your pick and middle.. Replace any dominant 7 chord with its sub5 Bb7 them are widely used and worth memorising shapes both.