Members Jeff1979 Posted October 13, 2010 Members Share Posted October 13, 2010 My old Jazz teacher once wrote me out a Jazz 12 bar blues type thing once and ill be dammed if i can find it anywhere... Do any of you guys know the sort of thing im talking about?? Sorry if its a bit vague.It had a ton of passing chords but all neatly crammed into a 12 bar format Jeff Link to comment Share on other sites More sharing options...
Members JonR Posted October 13, 2010 Members Share Posted October 13, 2010 Well, there's many variations. Here's a few, from simple to complicated (all in key of F, the most common jazz blues key). Mix and match.|F7 - - - | - - - - | - - - - |Cm7 - F7 -||Bb7 - - - |- - - - |F - - - |F7 - D7 - ||Gm7 - - - |C7 - - - |F - Dm7 - |Gm7 - C7 -||F7 - - - |Bb7 - - - | F - - - |Cm7 - F7 -||Bb7 - - - |Bdim7 - - |F7 - - - |Am7 - D7 - ||Gm7 - - - |C7 - - - |F - Dm7 - |Gm7 - C7 -||F7 - - - |Bb7 - - - | F - - - |Cm7 - B7 -||Bb7 - - - |Bdim7 - - - |F7 - - - |Eb7 - D7 -||Gm7 - - - |C7 - - - |F - Ab7 - |Db7 - Gb7 -||F - - - |Em7b5 - A7 - |Dm7 - G7 - |Cm7 - F7 -||Bb7 - - - |Bbm7 - Eb7 - |Am7 - D7 - |Abm7 - Db7 - ||Gm7 - - - |C7 - - - |Am7 - D7 - |Gm7 - C7 -| Link to comment Share on other sites More sharing options...
Members Jeff1979 Posted October 13, 2010 Author Members Share Posted October 13, 2010 Well, there's many variations. Here's a few, from simple to complicated (all in key of F, the most common jazz blues key). Mix and match. |F7 - - - | - - - - | - - - - |Cm7 - F7 -| |Bb7 - - - |- - - - |F - - - |F7 - D7 - | |Gm7 - - - |C7 - - - |F - Dm7 - |Gm7 - C7 -| |F7 - - - |Bb7 - - - | F - - - |Cm7 - F7 -| |Bb7 - - - |Bdim7 - - |F7 - - - |Am7 - D7 - | |Gm7 - - - |C7 - - - |F - Dm7 - |Gm7 - C7 -| |F7 - - - |Bb7 - - - | F - - - |Cm7 - B7 -| |Bb7 - - - |Bdim7 - - - |F7 - - - |Eb7 - D7 -| |Gm7 - - - |C7 - - - |F - Ab7 - |Db7 - Gb7 -| |F - - - |Em7b5 - A7 - |Dm7 - G7 - |Cm7 - F7 -| |Bb7 - - - |Bbm7 - Eb7 - |Am7 - D7 - |Abm7 - Db7 - | |Gm7 - - - |C7 - - - |Am7 - D7 - |Gm7 - C7 -| The last one looks along the same lines, lovely stuff, cheers Now to be a pain could you tell me whats going on here in the last one Link to comment Share on other sites More sharing options...
Members Espresso Posted October 13, 2010 Members Share Posted October 13, 2010 There's a list of different blues progressions here:http://www.jazzguitar.be/jazz_blues_chord_progressions.html They are pretty much the same progressions that JonR posted. Link to comment Share on other sites More sharing options...
Members JonR Posted October 13, 2010 Members Share Posted October 13, 2010 The last one looks along the same lines, lovely stuff, cheers Now to be a pain could you tell me whats going on here in the last one Ah-ha!This is actually the sequence from Charlie Parker's "Blues for Alice", and I think he used it on one or two other blues. AFAIK, often known as Parker changes for that reason.It can be interpreted a few ways. Generally, it's all either cycles of 5ths, or tritone subs, with some secondary dominants.|Em7b5 - A7 - | = ii-V of approaching Dm chord. (A7 is secondary dominant of Dm, and Em7b5 is secondary supertonic (ii) of Dm.)|Dm7 - G7 - | = ii-V of C. (Another secondary ii-V)|Cm7 - F7 -| = ii-V of Bb. (ditto)These form a cycle of 5ths altogether (E-A-D-G-C-F-Bb) - this is known as "backcycling" - preceding the Bb with its V, and then working back in 5ths from there. And the cycle actually continues to Eb in the next part:|Bb7 - - - |Bbm7 - Eb7 - |. Bbm is a common alteration of the IV chord, but traditionally goes back to I. In this case it becomes the ii of a ii-V, suggesting an approaching Ab. But...Am7 - D7 - | = ii-V a half-step down from the previous pair. You could interpret the D7 as a tritone sub for the expected Ab. Or OTOH, you could see the previous Eb7 as a tritone sub for A7, V of the D. (Take your pick )Abm7 - Db7 - | = another half-step descent, obviously on the way to the Gm7-C7 in bars 9-10. Again, we can think of the tritone sub idea if we want: the previous D7 being tritone of Ab, V of this Db. Or this Db7 as tritone sub of G7, V of approaching C7. But IMO the chromatic descent is the thing - it's what we hear, and in fact is how cycles of 5ths (in dom7s) work anyway. (Eg, in A7-D7-G7, 3rds drop a half-step to 7ths and vice versa. using Ab7 instead of the D7 simply enhances this movement.)The half-step-descent/tritone-sub business is obscured or softened by introducing the ii of each V chord. (If the sequence just went Eb7-D7-Db7, bar each, and on to the C7, it would sound quite crude.)|Gm7 - - - |C7 - - - | = ii-V of the key, of course|Am7 = sub for tonic chord, F(maj7) - D7 - |Gm7 - C7 -| = turnaround. Dm7 could be used instead (as in the other sequences) making it a diatonic vi-ii-V. The D7 here is another secondary dominant (V of ii).Adding the Am7 before makes it iii-vi-ii-V, another cycle of 5ths of course.Notice that ii-V pairs can descend in either half-steps or whole steps - they work either way. In the half-step descent, the V of the first pair acts as bII (tritone sub) of the V in the second pair - so the ii of the second pair is an optional addition, rather like a sus4 version of the V, or a delayed resolution. Try this:|Am7 - D7 - |Db7sus4 - Db7| - very similar to using Abm7.In the whole step descent, the V of the first pair is simply V of the ii in the second pair.To test out the tritone sub effect, try using this variation of the sequence, where some subs have been removed (leaving a cycle of 5ths) and others added:|F - - - |Bbm7 - Eb7 - |Dm7 - Db7 - |F#m7 - B7 -||Bb7 - - - |Bbm7 - Eb7 - |Ebm7 - Ab7 - |Abm7 - Db7 - ||Gm7 - - - |C7 - - - |Am7 - D7 - |Gm7 - C7 -| Link to comment Share on other sites More sharing options...
Members meganutt7 Posted October 13, 2010 Members Share Posted October 13, 2010 Ah-ha! This is actually the sequence from Charlie Parker's "Blues for Alice", and I think he used it on one or two other blues. AFAIK, often known as Parker changes for that reason. It can be interpreted a few ways. Generally, it's all either cycles of 5ths, or tritone subs, with some secondary dominants. |Em7b5 - A7 - | = ii-V of approaching Dm chord. (A7 is secondary dominant of Dm, and Em7b5 is secondary supertonic (ii) of Dm.) |Dm7 - G7 - | = ii-V of C. (Another secondary ii-V) |Cm7 - F7 -| = ii-V of Bb. (ditto) These form a cycle of 5ths altogether (E-A-D-G-C-F-Bb) - this is known as "backcycling" - preceding the Bb with its V, and then working back in 5ths from there. And the cycle actually continues to Eb in the next part: |Bb7 - - - |Bbm7 - Eb7 - |. Bbm is a common alteration of the IV chord, but traditionally goes back to I. In this case it becomes the ii of a ii-V, suggesting an approaching Ab. But... Am7 - D7 - | = ii-V a half-step down from the previous pair. You could interpret the D7 as a tritone sub for the expected Ab. Or OTOH, you could see the previous Eb7 as a tritone sub for A7, V of the D. (Take your pick ) Abm7 - Db7 - | = another half-step descent, obviously on the way to the Gm7-C7 in bars 9-10. Again, we can think of the tritone sub idea if we want: the previous D7 being tritone of Ab, V of this Db. Or this Db7 as tritone sub of G7, V of approaching C7. But IMO the chromatic descent is the thing - it's what we hear, and in fact is how cycles of 5ths (in dom7s) work anyway. (Eg, in A7-D7-G7, 3rds drop a half-step to 7ths and vice versa. using Ab7 instead of the D7 simply enhances this movement.) The half-step-descent/tritone-sub business is obscured or softened by introducing the ii of each V chord. (If the sequence just went Eb7-D7-Db7, bar each, and on to the C7, it would sound quite crude.) |Gm7 - - - |C7 - - - | = ii-V of the key, of course |Am7 = sub for tonic chord, F(maj7) - D7 - |Gm7 - C7 -| = turnaround. Dm7 could be used instead (as in the other sequences) making it a diatonic vi-ii-V. The D7 here is another secondary dominant (V of ii). Adding the Am7 before makes it iii-vi-ii-V, another cycle of 5ths of course. Notice that ii-V pairs can descend in either half-steps or whole steps - they work either way. In the half-step descent, the V of the first pair acts as bII (tritone sub) of the V in the second pair - so the ii of the second pair is an optional addition, rather like a sus4 version of the V, or a delayed resolution. Try this: |Am7 - D7 - |Db7sus4 - Db7| - very similar to using Abm7. In the whole step descent, the V of the first pair is simply V of the ii in the second pair. To test out the tritone sub effect, try using this variation of the sequence, where some subs have been removed (leaving a cycle of 5ths) and others added: |F - - - | Bbm7 - Eb7 - |Dm7 - Db7 - | F#m7 - B7 -| |Bb7 - - - |Bbm7 - Eb7 - | Ebm7 - Ab7 - |Abm7 - Db7 - | |Gm7 - - - |C7 - - - |Am7 - D7 - |Gm7 - C7 -| Excellent and detailed explanation, Jon. Well done, sir! Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.