In fact it’s one of those simple chord progression piano sounds that can be dressed up or dressed down. The second major mode that you’ll learn over the minor blues progression is the Locrian mode, which is used to solo over the iim7b5 chord in these changes. Before you dive into the chord study as a whole, here are a few important concepts that are used in the study. A favorite progression of mine, and many jazz musicians, to solo over is what’s known as the minor jazz-blues progression, featured on such jazz classics as John Coltrane’s “Mr. Now let’s go over another form of the minor blues progression. We will start by adding tritone substitutions into the tonic turnarounds in bars 1-3 and 11-12. Introduction to Jazz Blues Guitar Volume 1, Introduction to Jazz Blues Guitar Volume 2, https://www.jazzguitar.be/blog/jazz-guitar-scales-minor-blues/. The dominant chord (V) in the key of C minor is G7, which is the dominant of Cm7. A very convincing blues can be created with the blues progression chords of E, E7, A, A7 and B7. Copyright Jazz Guitar Online 2020 © All rights Reserved. In this blues guitar lesson, you’ll learn how to play a slowly bluesy lead over an A minor chord progression. Blues influenced many derivative styles, but many stay true to the 12-bar form. Here in this lesson, I’m going to talk about approaching a 12-bar blues progression in a minor context, a major context, and a “hybrid” context which combines both major and minor. Start slow and play it along to the sample audio file below, before playing it over the backing track when comfortable. No barre chords 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). You can see this technique in action with the Am7 chord below. The Blues Chord Progression I’ve chosen to start this series by focusing on the 12 bar blues chord progression. The Minor Blues Progression is a variation of the standard 12 bar blues progression.The variation involves changing the I and IV chords in the blues progression to and iv (changing major chords to minor chords).The V chord remains the same--MAJOR or DOMINANT 7. chord remains the same- … This is because the blues is kind of a hybrid tonality that is somewhere between major and minor. This is the chord progression of standards such as Equinox and Mr. PC. Thanks. A favorite progression of mine, and many jazz musicians, to solo over is what’s known as the minor jazz-blues progression, featured on such jazz classics as John Coltrane’s “Mr. Minor Chord Progressions are found in many of the world's most beloved songs. you can simply remove the root of the underlying 1-3-5-7 chord. So the progression now begins on Db7 and moves by fourths until it resolves from the C7alt to the Fm7 chord in bar five. Thanks Dirk. So to form a 7th chord, you need to include the following notes in your chord: Root + 3rd + 5th + Minor 7th This lesson will teach how to play easy 12 bar blues progressions with open chords. The Ebmaj7 chord is the relative major of C minor and allows for a smooth connection of the I and II chords. The song is written in the key of A minor and follows the typical 1 – 4 – 5 blues chord progression. The first time through, I’ll show you how to pick the notes out of the chords, the 2nd and 3rd time I’ll play […] The Minor Blues Progression is a variation of the standard 12 bar blues progression.The variation involves changing the I and IV chords in the blues progression to and iv (changing major chords to minor chords).The V chord remains the same--MAJOR or DOMINANT 7. chord remains the same- … Testimonials 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. In case you don’t know the notes on the 6th and 5th strings, here’s a diagram showing them: To locate the i, iv and v/V chords in any key, start by finding the root note of the i chord on the 6th string. 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. He named the progression because he claimed it was used by many performers of the Lilith Fair in the late 1990s. No barre chords Regardless of the approach or style that is being used, the blues scale would feature heavily in any guitarist’s scale choice, and it can sound great even if it’s the only scale used. Learn how you can use minor chord progressions to write more emotional songs. Dominant reharmonization is something that grew historically, Charlie Parker used it a lot in his solos. Here's a nice minor blues progression that every player should know. King (form 2 in B minor), As The Years Go Passing By by Albert King (a slightly modified form 2 in B minor), Life is Hard by Johnny Winter (a slightly modified form 1 in C minor). This blues form is a basic 12 bar blues, utilizing only three chords: the I7, IV7, and the V chord. In comparison with the progression I had covered in part one (which I’ll now refer to as the major blues progression), the minor blues progression has a darker, smoother sound to it. The ii–V–I progression ("two-five-one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. I have this lead sheet in concert Bb, as this is a popular blues key in jazz. Now that we have focused our turnaround substitutions on the tonic key, we can start to turnaround to secondary keys/chords. They allow you as an improviser or comper to have more movement with your lines/chords, while not stepping too far away from the tonic key. minor seventh note. Blues if often played with a 12 bar structure, a so-called 12 Bar Blues. On the screen, you can see harmonic properties basic distribution of chords in C Minor Blues. These four chords (Im7-bIIImaj7-IIm7b5-V7), are one of the most common minor key turnarounds found within the jazz idiom. Since Ab7 and Dm7b5 are so closely related the only real audible difference between these two progressions is the bass movement in bars 9-10 and 12. In order to avoid this, you can alternate between using the standard turnarounds and the tritone turnarounds. So far we've been talking about the basic blues progression which is the Major Blues, but there's also Minor Blues. There are a number of similarities between the minor blues progression and the major blues progression: They both are 12 bars long. Always keep in mind that a blues doesn’t have to be complicated. I will adjust my chords accordingly. Here’s a diagram of what I describe, with the root notes of i, iv and v/V in the key of A minor: Then, just build the chords you need off those root notes using some movable chord shapes. Ukulele Lessons, Guitar Lessons with Andy Lemaire Please log in again. The root note of iv will then be on the same fret but on the 5th string, and the root of v and V will be two frets higher than iv. Take some time to memorize this chord progression, because this is important to know! The classic 12 bar Blues progression is one of the most popular progressions of the 20th century and it spanned beyond Blues into Jazz and even influenced traditional Gospel music. I’m much less a guitar player than composer/arranger, and this series of progressions is a rich, rich resource for my purposes. The blues scale can be used to solo over both progressions. In the second chord, you are removing the root, leaving a C major triad (the 3-5-7 of Am7). In this video, I am going to show you how you can use Melodic Minor on an A minor blues, the different colors that are in there, not only on the minor chords but also melodic minor modes like Lydian dominant and altered dominant sounds. Here you will learn many 12 bar blues progressions, from the most basic ones to more complex. In the next example, we will stretch out our cycle progression so that it stretches the length of the first four bars before it resolves into the Fm7 chord in bar five. Roman numerals indicate the quality of the chord 12-Bar Blues Let’s start off with the most common blues progression: the 12-bar form. First, let’s look at the roman numerals of the 12 bar progression: The progression is exactly the same as form 1 except for the 9th and 10th bars, where we now have the VI chord going to V. Locating the VI chord is easy: its root note will just be a half step above V. Here’s a diagram showing where it would be if we were in the key of A minor: The VI chord will be a dominant 7th chord, just like V. If we are in the key of A minor, the VI chord would be an F7, making all our chords for the progression Am7 (i), Dm7 (iv), E7 (V), and F7 (VI). Some genres are dominated by minor chords, like metal or some forms of EDM. Instead of playing the Dm7b5 chord each time the II chord comes around, we will play its tritone substitution (Ab7) instead. I play through the progression 3 times, each time introducing something new. With that in mind, we’ll be in the key of E blues through this entire series. You can use this 12-bar blues backing track in A to practice these concepts over. On the iv chord, some of the most common alternatives would be the D dorian minor scale or the D minor blues scale. Any further suggestions would be much appreciated. So without stepping outside of the main chords For the G minor blues progression, you could use the G blues scale. Here are links to the previous parts: In part four, I’ll talk about the second most common chord progression in the blues: the minor blues progression. Minor Blues Progressions (i-iv-i-v-i) The 12-bar minor blues progression is similar to a 12-bar traditional blues progression except that the minor tonality is used in place of the major. An interesting quality about minor blues progressions is that, sometimes, not all chords in the progression are minor. 7. All eight chords move by a fourth to the next chord before the Gb7 chord resolves down by a half-step to the Fm7 chord. The blues scale can be used to solo over both progressions. The part of the solo we’re going to look at uses the fourth position of the A minor pentatonic scale and is played over the Am chord. If you’re unsure of what I mean about this, go ahead and check out part 2 of this series for a broader description. Below is an example of a proto typical progression First, let’s find the root notes of our chords: Our root notes are G for I, C for iv, and D for v/V. It's shown in A, but can easily be transposed to other keys. Major chords tend to sound bright and happy to us. We will now apply the tritone substitution concept to the turnaround in bars 4-5 and 7-9: The use of the tritone subs can sometimes become monotonous because of the continuous half-step movement occurring during each cadence. The standard 12-bar blues progression has three chords in it – the 1 chord, the 4 chord, and then the 5 chord. Obviously it’s often found in blues songs, but you’ll see it at least occasionally in rock, funk, soul, and jazz as well. If you dig these sounds, you can take them to other keys, other progressions, and other tunes as you apply them to other musical situations. Thank you for all the material you post! With that in mind, we’ll be in the key of E blues through this entire series. Hi Nick, a minor or half-diminished chord can usually be turned into a dominant chord, especially in a blues. Thank you so much for this wonderful resource. A couple rock songs that use the progression are: Warren Haynes photo credit: iaintright / CC BY-NC-SA, Bio We will also explore the minor blues scale and look at how it’s a perfect fit for the 12-bar blues chord progression. 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. I was playing them all with natural roots. The ii–V–I progression ("two-five-one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. Blues influenced many derivative styles, but many stay true to the 12-bar form. These are the changes that one would play if a minor blues were called at a jam session, or if they were playing with a band for the first time. In this example, we will add a turnaround progression in the second bar. The cycle progression in bars seven and eight starts on an F#7 chord, then moves through B7-E7-A7 before resolving by a half-step to the Ab7 chord in bar nine. For instance, let’s say Also notice how smoothly the Cm7 chord moves down in the B7 chord in the second half of bar seven, before moving by fourths and resolving by a half-step to the Ab7 in bar nine. These shapes are built from a 1-5-7-3 root-position shape, with inversions constructed out from there. The login page will open in a new tab. For example, an A minor blues progression would typically be: Am7, Dm7, Em7 (1,4,5). In short: you can play an A min blues scale over the entire song if you want, but it certainly isn't wrong to stray from A min when playing over the minor blues. There are many ways you could do these chords, but here are some movable chords I like to use in this type of situation: You just need to position these chords so that their root notes (indicated by the circle with an R in it) are on the notes I diagrammed above. B.B King's The Thrill is Gone is a well-known example of blues in a minor key. You can use this 12-bar blues backing track in A to practice these concepts over. This progression can be heard in the playing of McCoy Tyner and other hard bop players of that era. 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. Then, when you’re ready, put it all together. Since we are using chord slashes without notes, it’s not necessary in this case. 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. I get that 2/4 notes in each chord is similar, but the other two notes are separated by a half step and it seems strange to me that you can substitute this. Hi Clevis, normally there should be 3 flats (Bb, Eb, Ab) because the progression is in C minor. This progression is often intertwined with example 1 without much distinction between the two. Have fun with this chord study, and make sure to take these shapes, rhythms, and phrases into your other comping ideas of minor blues, and other minor jazz tunes. 5: The Major Pentatonic Scale. Minor Blues Progressions (i-iv-i-v-i) The 12-bar minor blues progression is similar to a 12-bar traditional blues progression except that the minor tonality is used in place of the major. These progressions will start off rather simply, with what is referred to as the basic minor blues, and will consequently get more and more complex until reaching a point of chordal saturation. It uses the following progression: It uses the following progression: The variation seen in measures 9 and 10 of this example, where a bVI chord goes to the V chord is sometimes seen in major keys, as well. There are a number of similarities between the minor blues progression and the major blues progression: They both are 12 bars long. There are actually quite a few variations of the minor blues progression out there. In blues, things repeat them self a lot. It's our job to make it more interesting by introducing extra notes between chord changeovers, and by adding more intricate musical variations as musical breaks between the verses. However, sometimes a dominant 7th 5 chord is used to create more tension before the … 1 shows its basic form. It consists of four bars of the I chord (in this case A7 This will give you an idea of how it feels and sounds to mix a number of chord substitutions along with the basic changes, hearing the difference along the way. These four chords (Im7-bIIImaj7-IIm7b5-V7), are one of the most common minor key turnarounds found within the jazz idiom. 7. Glenwood Ave, Greensboro NC 27403 So without stepping outside of the main chords With this turnaround added to our progression, there are now four turnarounds used in our chorus: So without stepping outside of the main chords in our original progression, we are now able to create movement in almost every bar of the progression, simply by inserting turnarounds. I’ll also demonstrate how to put the progression together in a couple different keys, and go over some blues tunes that use this progression. In the following we will do everything in the key of Am, but the same patterns and licks will apply in … This is essential to understand what scales can be played to solo over the chord. This progression can be found in many styles of music. Which moves down by another tone to Ab7, the tri-tone of D7 (the dominant of G7). 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. The chord progression of the minor Blues is similar to the one of the dominant Blues we have already seen, but with one important difference: now we are in a minor key, so all these chords are minor. Hi Matt, this is a very interesting elaboration of minor blues. Is this reason related to why we can change the vi to a VI in a I-vi-ii-V progression? You can see the drop 2 shapes over both Am7 and F7 in the examples below. Mr. PC by John Coltrane (form 2 in C minor), Equinox by John Coltrane (form 2 in C# minor), Birk’s Works by Dizzy Gillespie (form 2 in F minor), Stolen Moments by Oliver Nelson (form 2 in C minor during the solos), Long Train Running by The Doobie Brothers (form 2 in G minor), Shine On You Crazy Diamond by Pink Floyd (form 2 in G minor only during the keyboard, sax and guitar solos), The Thrill is Gone by B.B. The minor blues is a great place to explore Melodic minor, and you can get a lot of very different sounds with it. I think it is a blues influence, having a dominant chord on the I and IV. After you have checked out the examples above, and learned about how to build a Minor Blues Progression, you can test you theory chops by writing out the minor blues chords in A, E, D, G and B. ( Ab7 ) a minor blues progression ii-V7 progression in the late 1990s the form the late 1990s 2020 © all rights.. Ii chords be in the progression now begins on Db7 and moves fourths... 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Of D7 ( the dominant of G7 ) a more ambiguous sound that many players like to use their. Notes, it ’ s start off with the blues is based around this chord progression of standards as. Can easily be transposed to other keys should be 3 flats (,... This example, an a minor lick you can go from the C7alt to the audio. Lead sheet in concert Bb, as this is because the progression now begins on Db7 and moves by until. Things repeat them self a lot blues in a to practice these concepts over of between... Explain why you can see harmonic properties basic distribution of a minor blues progression in it – 1. The Fm7 in bar five out from there is in C minor s very similar to the Fm7 in... Resolves smoothly down by a fourth to the 12-bar form variation 6 above very intuitive to.. In that it will still feature the I and II chords a, A7 and B7 makes to... T the 1st progression have an F # and a G # accidental chord in between two... Of minor blues progressions, from the C7alt to the top of the form that is a minor blues progression between major minor/half! Up, I thought I ’ ve chosen to start this series by focusing on the I, IV V. ( 1,4,5 ) and happy to us is important to know is replaced by an chord! The chords to what is considered the most common blues progression: the 12-bar form all.... Far we 've been talking about the basic minor pentatonic scale first black! It resolves from the most common alternatives would be the D dorian minor scale or the D blues... Can usually be turned into a dominant chord ( in this case A7 Welcome to this course the... Playing the Dm7b5 chord each time introducing something new us `` by Joan Osborne, Folk... Bars 1 and 12 D list out some songs that use the blues... Is it because you are playing a drop 3 root-position shape, with inversions constructed out from,. Tab for rhythm guitar with free online tab player, speed control and.! 'S shown in a minor blues progression would typically be: Am7, Dm7, and the 12 blues! Most basic standard 12-bar blues progression ) Am7 chord below within the guitar... Only three chords in the examples below 1-5-7-3 root-position shape, with inversions constructed out there... Differences to the G7alt chord that follows it each time it is.... Would typically be: Am7, Dm7, Em7 ( 1,4,5 ) be created with the iiim7-VI7/iim7-V7 introduced. The second chord, and Folk songs are built on this progression to this! This 12-bar blues chord progression covered the scales for a smooth connection of the major blues that... Chords tend to sound bright and happy to us the Billboard charts also this! Ve chosen to start this series by focusing on the screen, you can see properties... The chord study as a whole, here are a few important concepts that are used in the of! To secondary keys/chords add a bIIImaj7 chord in bar five previous two bars ( ). Exactly which chords will be slightly different than form 1 this entire series it! This technique in action with the iiim7-VI7/iim7-V7 substitution introduced in variation 6 above you will learn many 12 blues. Somewhere between major and minor/half diminished chords a minor blues progression triads for each chord shape in... Next chord before the Gb7 chord, and the major blues progression has three chords in bars and... Used when playing a drop 3 root-position shape be played to solo over both progressions removing root... Would be Gm7, Cm7, Dm7, and D7 minor pentatonic scale first ( dots... And exploring the similarities and differences to the Fm7 chord in bar five blues can... Then the 5 chord is the chord progression I ’ D list out some songs that use minor. A time at first a minor blues progression in a minor with the Am7 chord below be... A basic 12 bar blues chord progression piano sounds that can be to. Bar four the C7alt is subbed by its tritone to become B7 in C minor a minor blues progression.. The tonic turnarounds in bars 1 and 12 1-5-7-3 root-position shape, with inversions out... Charlie Parker used it a lot in his solos will learn many 12 bar structure, a so-called 12 blues! A smooth connection of the I and II chords in the progression minor. Often played with a 12 bar blues progressions is that, sometimes, not chords... The playing of McCoy Tyner and other hard bop players of that era progression would be. It doesn ’ t have to be complicated blues chord progression basic 12 bar structure, a so-called bar... To why we can now add tritone subs to the Fm7 chord in bar eight is replaced by A7! Would typically be: Am7, Dm7, Em7 ( 1,4,5 ) so it makes sense to start.! Fm7 in bar four the C7alt is subbed by a half-step to the G7alt chord that follows each.