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This is my go to jazz bluez chord progression that I improvise on.
F7 - (Bb7) - F7 - (C-7) F7 or B7
Bb7 - Bdim7 - F7 - (A-7) D7
G-7 - C7 - (A-7 D7) - G-7 C7
So that's my basic format. The ones in parenthesis I will add if I want more changes or leave as F7 if I want more simplicity for ease of soloing. It sounds jazzy, but basically can accommodate most melodies. It also has some complexity, but not too busy that it makes improvising difficult like a Bird bluez. Starts on the 1 (duh), usually I don't feel like playing the 4 in bar 2, I usually do some type of 2-5 into the 4 chord on bar 4. Right now I'm feeling only a tritone sub a half step above the 4 chord for bar 4, or maybe a 2 to the tritone sub (C-7 B7). Bar 6 play the dim. Bar 8 I will usually do a 2-5 into bar 9 or only a 5 (3-6 or 6 of the key). Bar 9, the final 2-5. Bar 11 I will just play F7 if I want ease of soloing to the 2-5 turnaround, or I will play a 1-6-2-5 or 3-6-2-5 if I want more movement. You can add extensions or alterations on the 2-5s if you want like A half dim to D7 b9.
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08-19-2021 01:45 PM
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I like it! The only chord I will have to think about is when it comes to using the B7 to the Bb7 that is going from Bar 4 to Bar 5. I like that placement of the Bdim7, too. This progression sounds like what I have regular heard and liked, including the turnaround.
Originally Posted by Clint 55
Thanks.
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No prob! The B7 would be just the last 2 beats of bar 4 to lead into the Bb7 in bar 5. If you want to take up the whole bar you can do C-7 to B7 or C-7 to F7
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Take your pick.
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Image Saved!!! Originally Posted by ragman1
Take your pick.
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But you can make your own easily.
I--------------------
IV ------ I ---------
V ------- I ---------
And you don't necessarily have to stick to that.
G7 - C#m7 - Dm7 - Bb7
Gm7 - Cm7 - Bm7 - Bbm7
Am7 - Ebm7 - Dm7/A7 - C#m7/F#7
I just invented that. Does it work? It's a bit strained but yes, basically. All the funny chords are recognised subs or subs of subs. The point is the blues is pretty malleable.
The first one is a solo over the normal jazz chords, the second one is the same solo over that new version.
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My friend, you really have the Blues in your soul. When I hear your recordings, the word "authentic" comes to mind. Yes, I have learned that this Blues stuff can just about be what you want it to be, with a chord progression that can be kind of static with few chords, to ones that feel so full of motion driving you on, endlessly. Originally Posted by ragman1
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Surprising how many regular moves don't appear in Haerle's diagram. For instance, F7 Bb7 / A-7 D7 or its equivalent F7 G-7 / A-7 Ab7 in bars 7 & 8. Originally Posted by ragman1
Take your pick.
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Here is a blues progression in F that I like to use:
F13 \ Bb13, BDim7 \ F13, DbDim7 \ Cm7, B7 \ Bb7 \ Bbm6 \ Am7 \ D7b9 \ Gm7, Db9 \ C9, Bb7 \ Am7, Ab13 \ Gm7, C7b9
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Yes, it's not encyclopaedic. Originally Posted by PMB
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I recomend B.Galbraiht book-"Guitar Comping":
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This progression, with the Cmi7 - F7 in measure four, which then goes to Bb7 in measure 5, and also the minor 2-5 (Ami7b5 to D7) in measure 8 going to the Gmi7 in measure 9, are what I was hearing when I got the most enjoyment out of a Jazz Blues Progression. Originally Posted by AlsoRan
The reason that I started this thread was because I was not savvy enough to figure why I absolutely loved some Jazz Blues progressions and yet others left me flat. Recently, I have been able to narrow it down to this: I want to hear the 2-5s in these progressions rather than just basic, more traditional Blues changes. To my ears, they make the progression much more "Jazzy."
I finally got there thanks in part to the many inputs from this forum, Dirk's lessons, and JensL's lessons. With all the various progressions, I just could not figure it out, but now I have. It is forcing me to throw in more 2-5-1 lines and for me, this is where the beauty comes from. I still have not quite gotten into the Parker Blues-style songs. That will be next, should I find that I like them enough and have the chops and ability.
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This is pretty close to what I commonly hear done. Main difference is the turnaround which I often hear as F Ab7 (this could be a D7something, depending on the bassist) G7 Gb7, or similar. It's the chromatic movement of 3rds and 7ths that give that basic sound. Originally Posted by Clint 55
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Kris, Originally Posted by kris
I was not aware of this book. I looked it up, and there is no guitar tab. It is all in standard notation.
My sight reading is too weak to be able to use it. Maybe in two or three years, I might be able to take advantage of what it teaches. Thanks!
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I guess I am old-fashioned but In the last two measures, I just like the F7 D7 Alt / Gmi7 C7 - just the old 1-6-2-5 cycle or progression. Originally Posted by rpjazzguitar
This man, Riccardo Chiarion, has a nice set of videos based on the progression. They get a little more busy as the videos progress from 1 to 10. His performances, and Jens Larson's lesson videos, really showed how using arpeggios and throwing in 2-5s can change the sound in a basic Jazz Blues Progression.
Here is #1 of Riccardo's videos, simple, yet elegant.
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This is a very good book. It's pretty short, but there are lots of good ideas, clearly presented.
Book Review: Warren Nunes Jazz Guitar Series: The Blues by Warren Nunes & Jerry Snyder
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I think our old friend the Dutchbopper did a review of this book on his blog several years ago. I immediately went and found an old used copy on ebay. There was some great playing on the accompanying music. I need to look around and find it, since I should be able to better digest what it teaches. Thanks for the input. Originally Posted by rpjazzguitar
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