More blues chords that sound good in I-IV-V progression

[Chris Lohr]

In my blues playing, the only chords I really use ever are 7ths and a 5th string 9 chord. I also use a different form of the 5th string 7th that you all probably know... for E it would be (EADGBE) x7675x

 

But thats it. I dont know any other chords that sound good with blues.

I like to use just dominants so there isnt much "happy/sad feeling" associated with it normally... but I dont know what else would sound good besides 9ths and 7ths.

 

Any other suggestions on good blues chords for backing in the I-IV-V? (can be variants on 7th and 9th)

 

Thanks

-Chris :-)

[Viktor Johanson]

IV6

I7#9

v7b5

bII7 (in place of V)

[TubeAddict]

E7: x2213x

[Dandolin]

Here's a nice jazzy substitution for that I7 chord:

 

where I is A, play: 5x5675.

 

I play finger style, so I individually pluck each string and have no issues with the muted 5th string, but with a pick you can either "stutter" strum to skip the 5th string, or better yet, just play the top four strings (the root will be there, and you won't be fighting with the bass player sonically).

 

I usually just refer to this as an A13 (the C# on the 7th fret, 2nd string is the sixth scale degree, so its referred to as 13, just as the fourth degree would be referred to as the 11 and the second degree as the 9 (sorry if I'm getting too rudimentary here)), but I suppose technically its an A7 add 13, since the 9th degree which is usually included in such extended chords is not there. You can add the 9th easily by playing the seventh fret on the 1st string with your pinkie. I usually don't though, especially in blues, because the pure A13 is a little rich sounding, almost twee, for blues. Plus the form I use just falls so easily (gotta love those three finger chords).

 

Try it in "Stormy Monday" and move it about chromatically (eg., play the form on the 5th fret for two beats, move it up to the 6th for another two, then play it at the 4th, 5th, 6th, and 5th in succession for one beat each). T-Bone Time!

 

Shanti

 

--Dandolin

[Chris Lohr]

Thanks everyone- Im checking them out and theyre pretty cool!

[edeltorus]

You might also want to try some alterations of the 5 string 9th chord:

 

For example the E9 like this:

 

7

7

7

6

7

x

 

also sounds great over the subdominant and dominant if you play it this way:

 

9

9

7

6

7

x

 

 

Over the dominant it's fun to first play it over the V and then shift it up one fret. This makes it even more dissonance without sounding jazzy.

 

Nils

[Little Dreamer]

I'd recommend you pick up Chord Workbook for Guitar Volume 1 by Bruce Arnold. (No I'm not his salesman! ) There's a couple dozen blues progressions in there using every chord you'd care to shake a stick at. And a lot of explanation of chord substitution, etc.

 

For example, a blues in C major: One bar each of C13, F9, C13, F#9, F9, Bb13, two bars of C13, one bar each of G9, F9, then 1/2 bar each of C13, F9, C13, G9.

 

Or in F: One bar each of F9, Bb13, F9, then 1/2 bar each of C-7, B13, one bar each of Bb13, Eb9, F9, D-7, G7b13, C13, then 1/2 bar each of F9, D-7, G-7, C7b13.

 

Or for C minor: One bar each of C-7, F-7, two bars of C-7, two of F-7, two of C-7, then 1 bar each of Ab7#11, G7b13, C-7, G7#9. (I like this one played double-time with different inversions in the second bar of each chord that is played through two bars)

 

Or for F minor: One bar each F-9, Bb-9, F-9, B7b9 13, Bb-9, Eb9, two bars of F-9, one each of Db9, C7#9, F-9, Gb9. I really like this progression but I hate the Gb9 at the end, it's way the hell to bright. Anybody got any suggestions?

 

Anyhow, that's 4 of the 24 in Bruce's book.

[butch]

Here's an old trick using only triads

 

Play the chords IV and bVII triad .

 

Ex: For an A dominant (7,9,11,13)

 

A= D and G Major triads

 

The D =11th(D)-and 13th(F#)(plus the root A)

The G =7th(G) 9th(B) and 11th(D)

 

It's "boogie woogie" Chuck Berry using triads.

 

The vi Minor F#mi =A13th 13(F#) 1-A- 3(C#)

 

The v Minor Emi =A9th 5(E) G(7) 9(B)

 

...almost......

The v Minor9th Emi9=A13th 5(E) G(7) 9(B) F#(13)

 

IIImi7b5 C#mi7b5= A9th C#(3) E(5) G(7) B(9)

 

In every inversion!!!

 

Butch

[Cainer]

Here's all the inversions of an E7 chord on the highest (pitch-wise) strings, going EADGBE:

xx0100...xx2434...xx6757...xx99910 (that's a ten on the end, not some weird seven-string voicing). If you use these forms over each chord in the progression, it allows you to move wherever you want to on the fretboard and always be able to find a chord that works in the neighbourhood (Yes, I know, but that's the Canadian spelling, not a mistake).

and then there's my favourite E9 chord made famous by some guy named Stevie Ray...something or other:

EADGBE

 

(x)(x)(12)(11)(9)(12)