1. Blues Guitar Chord Progressions Pdf
2. Blues Piano Chord Progressions Pdf
3. Jazz Blues Chord Progressions Guitar Pdf
4. Blues Chord Progressions Pdf
5. Jazz Chord Progressions Pdf

Using the chords and keys outlined in the blues chord chart above, here are a few blues chord progression examples you can try out for yourself. In each example, I’ve listed 3 components, the 12-bar blues pattern, the chords I’ve selected for each progression, as well as the chord diagrams for said progression. Blues guitar chords To open a full size 12 Bar blues PDF file example click on the thumbnail images below. So that's the 12 bar blues in the key of E in the first position on the neck. Next on the agenda is to show you how to play it all the way up and down the neck. 11 more keys in the same shapes of the blues guitar chords presented here.Here.

Blues music is a relatively easy genre to absorb and the guitar is an excellent instrument in this style.

Blues course

Here starts a blues course for guitar that include several lessons. It begins with an easy level that explains the basic and when goes into more advanced concepts and various areas like 12 bar blues progressions.
Lessons:

The short and concentrated guide

The must-have chords in blues

The first chords to learn if you want to get a bluesy guitar sound are those that give another color to the sound than the usual major chords and are known as Dominant 7th chords.

Common blues progression

The standard type blues progression is extremely common and are, with some slight variations, present in other styles as well. When you play it, the chance is big what it sounds familiar to you ..

Hopefully you get some bluesy sound from it. In blues, things repeat them self a lot. The progression above is short and instead for ending at the last E7 you could add B7 as a turnaround and when begin with the same progression all over again.
As mentioned, we are using so-called dominant chords here, which are common in blues. Try the same chord sequence without any seventh notes and you will lose the blues sound.

Blues rhythm (how create a blues feeling with the strumming)

Strumming in a steady rhythm will not bring that blues feeling. A fundamental thing is on which beats to put extra emphasize. Then playing blues, count 1, 2, 3, 4, 1, 2, 3, 4 .. and start with one downstroke on every count. Together with that try to emphasize (i.e. play a little harder) the first and third in every four strokes: 1, 2, 3, 4, 1, 2, 3, 4 ..
The rhythm is not always the same, slow blues, for example, are often played in 12/8 time.

Besides the chords

Chords aren't everything, you probably want to put in some licks here and there between your chords and also doing some embellishment. And if some other is playing the rhythm guitar, you could jam over it by using some blues pentatonic scales (this site doesn’t focus on scales, but you won't have any problem finding information about it on the web, a recommended resource is GuitarScale.org).

Blues shuffle

Even if you are unsure about what a blues shuffle is, you have almost certainly heard it. Dragon age origins ultimate edition serial key. A blues shuffle is something you probably want to be able to play, it is one of the most distinguish things that could be heard off when a guitar is near.
A basic blues shuffle could look like this in a tablature:
Try it and you will hopefully recognize a familiar sound. A shuffle is technically played in 12/8 time but is often notated in 4/4 time with triplet feel.

Blues guitarists

Listen to blues music will be a great benefit for you in the quest for the real blues feeling. Among the classic blues guitarists are names like the following:

• Robert Johnson
• Lead Belly
• Muddy Waters
• Son House
• Howlin' Wolf
• John Lee Hooker
• T-Bone Walker
• Elmore James
• BB King
• Earl Hooker

The 'next generations' of blues guitarists incorporated such names as Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan.
Tips for more in-depth readings:
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Read also Give your chords more blues feeling.

Jam tracks

Here are some jam tracks to practice with. The following jam tracks are for blues and involves only drums.

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Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Understand basic variations of both major and minor 12-bar blues forms.
• Learn how to emphasize the IV chord by using ii-V progressions.
• Create movement and interest with tritone substitutions.

To successfully participate in a jam session, whether it’s a formal session or just some friends getting together to pick in the living room, you’ve got to know tunes—or at least the chord progressions to those tunes. This is true of any style of music, including the blues. The focus of this lesson will be on the essential chord progressions you’re expected to know as a blues rhythm guitarist. We’ll survey chord patterns that every aspiring blues guitarist needs to know, so if you’re just getting started with the blues, this lesson should serve you well.

12-Bar Blues

Let’s start off with the most common blues progression: the 12-bar form. Countless songs—in many styles—are based on this structure. Fig. 1 shows its basic form. Roman numerals indicate the quality of the chord (i.e., major or minor), as well as the position the chord occupies in the key. For example, if we’re in the key of A, the I chord is A, the IV chord is D, and the V chord is E. Uppercase Roman numerals indicate a major chord and lowercase Roman numerals indicate a minor chord. The benefit of learning a progression this way is it’s not locked to a specific key. This makes it easier to transpose the progression to a new key—you simply need to know the key you’ll be playing in and that becomes your I chord.

It’s common to move to the IV chord in the second measure and then back to the I chord in measure three. This is referred to as a “quick change.” If you’re jamming on a blues tune you’re unfamiliar with, keep your ears open because not all tunes employ the quick change.

Blues Guitar Chord Progressions Pdf

A turnaround usually occurs in the 11th and 12th measures of the progression. These two measures set things up to bring you back to the top of the form. The turnaround ends with the V chord, and this creates tension. The ear wants to hear the resolution to the I chord, which it gets when the form starts over.

Blues Piano Chord Progressions Pdf

Now that we’ve laid the foundation for a basic 12-bar progression, let’s explore ways to embellish it. By the time we work through these variations, you’ll be able to negotiate everything from a simple blues to its jazzier adaptations. Fig. 2 shows a basic 12-bar blues with the quick change in the key of A. Both these examples serve as a starting point for the variations we’ll discuss from this point on.

Jazz Blues Chord Progressions Guitar Pdf

For a moment, let’s focus on a few variations in the turnaround. The first one, shown in Fig. 3, is a I–IV–I–V turnaround in the key of A.

The next variation (Fig. 4) will prepare you for those situations when the bandleader calls for a 12-bar blues with a ii-V (pronounced “two-five”). The ii chord is a minor chord—indicated by the lowercase Roman numeral—built off the second note in the key. These last four measures of the form can be plugged into either of the first two examples we discussed. When this variation is used, the turnaround typically changes to include the ii-V as well. It has a strong pull to I, therefore it works well in a turnaround.

To vary the progression further, we’ll add the VI chord in the eighth measure (Fig. 5). This chord creates a pull to the ii chord we introduced in the previous example.

Blues Chord Progressions Pdf

We can also incorporate the VI chord into the turnaround as shown in Fig. 6. This creates the common I–VI–ii–V progression.

In Fig. 4, we inserted the ii-V progression into measures nine and ten, as well as in the turnaround. Remember the ii-V has a strong pull toward the I chord. Because of this, we can place a ii-V in front of a particular chord we want to emphasize.

Jazz Chord Progressions Pdf

One of the characteristics that separates the 12-bar blues progression from others, and delivers what we’ve become accustom to hearing as “blues,” is the movement to the IV chord in the fifth measure. By viewing the IV chord as a temporary I chord and placing the corresponding ii-V before it, we harmonically emphasize the “new” I chord (which in the overall progression is really the IV chord). Play through Fig. 7 and listen to how the chord in the fifth measure (D7) is reinforced by the Em7–A7 that precedes it.