Blues Progressions For Jazz Musicians - 11 Forms With Analysis & Audio Files

Blues Form # 1

Notice that each chord changes chart contains roman numeral analysis to facilitate transposing them in any key.

This is the most basic form of the blues. Only three chords are played here, the I7, IV7 and V7 giving us in the key of Bb :

• Bb7 as the I chord.
• Eb7 as the IV.
• F as the V7.

Blues Form # 2

The second blues form is quite easy.

It is based on the previous basic form and contains a ii V I cadence (Cm7, F7 and Bb7) in bars 9, 10 and 11.

Blues Form # 3

The third blues variation implies a chromatic descending movement.

Dm7 goes to Db7 which goes to Cm7 which goes to Bm7.

It is a very cool ending that provides a little more interest to the player.

Blues Form # 4

Playing a diminished 7 chord (Edim7) in bar 6 instead of a dom chord is a common trick found in many jazz blues tunes.

Blues Form # 5

You will notice two ii V sequences in bars 4 and 8. The first one (Fm7 - Bb7) goes to Eb7 whereas the second one (Dm7 - G7b9) goes to Cm7.

Please note that in the second ii V sequence, you can replace Dm7 by Dm7b5.

Blues Form # 6

In this sixth progression the IV7 chord is replaced by a minor chord.

This variation can be found in many jazz blues standards.

Blues Form # 7

The seventh blues form contains several variations :

• Bar 2 : you hear a diminished 7 chord between the VI (Eb7) and I7 (Bb7) chords.
• Bar 4 : A short II V sequence that goes to the IV7 chord (Eb7).
• Bar 6 : Once again, a II V cadence resolving to the I chord (Bb7).
• Bars 11 & 12 : A turnaround (Bb7 - Gm7 - C7 - F7b9) with a min7 chord.

Blues Form # 8

This is surely the more complex and odd variation of this lesson dedicated to blues progressions.

The first thing you will notice is the Major 7 chord (Bbmaj7)  in place of the common dom7 chord.

Then, a number of ii V changes in bars 2, 3, 4, 6, 7 and 8 :

• Bar 2 : Am7b5 - D7b9 going to Gm7.
• Bar 3 : Gm7 - C7 going to Fm7.
• Bar 4 : Fm7 and Bb7 resolving to Eb7 (the IV Chord of Bb7)

In bars 6, 7, 8 there a serie of descending ii V progressions without resolutions :

• Ebm7 - Ab7 
• Dm7 - G7
• Dbm7 - Gb7

The chord progression ends with a turnaround starting with a major seventh chord (Bbmaj7).

Blues Form # 9

Once again a diminished passing chord in bar 2.

A ii V sequence in bar 4 and a long VI7 - iim7 -V7 - I7 sequence to finish.

Blues Form # 10

In this tenth example there is a chord substitution (Dm7) for the I7 chord (Bb7) in the turnaround.

Blues Form # 11

Here is the last blues variation of this lesson.

Two new harmonic tips are discussed. A tritone ii V7 substitution for Bb7 (Em7 - A7) and a serie of descending dominant 7 chords (Bb7 - A7 - Ab - G7b9)  in bars 7 & 8.

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