Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 36 of 36
  1. #26

    User Info Menu

    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.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    Quote Originally Posted by Clint 55
    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.
    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.

    Thanks.

  4. #28

    User Info Menu

    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

  5. #29

    User Info Menu

    Take your pick.

    Thoughts on Choosing a Jazz Blues Progression, Anyone?-blues-progressions-jpg

  6. #30

    User Info Menu

    Quote Originally Posted by ragman1
    Take your pick.

    Thoughts on Choosing a Jazz Blues Progression, Anyone?-blues-progressions-jpg
    Image Saved!!!

  7. #31

    User Info Menu

    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.


  8. #32

    User Info Menu

    Quote Originally Posted by ragman1
    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.

    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.

  9. #33

    User Info Menu

    Quote Originally Posted by ragman1
    Take your pick.

    Thoughts on Choosing a Jazz Blues Progression, Anyone?-blues-progressions-jpg
    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.

  10. #34

    User Info Menu

    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

  11. #35

    User Info Menu

    Quote Originally Posted by PMB
    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.
    Yes, it's not encyclopaedic.

  12. #36

    User Info Menu

    I recomend B.Galbraiht book-"Guitar Comping":