Okay, I took our blues, simple blues
that we've been using quite a bit,
and I've asked the guys to throw in
a couple extra chord changes in there
because I really want you to see where
jazz musicians take these progressions.
This is kind of only halfway because
sometimes these blues progressions can
almost have a chord on, on every two
beats, so it can get very complicated.
But this is one step up, and
there's a couple of chords in there.
I'll just go through them real quick, now
to B flat again.
So it starts on B flat.
It goes right away to the fourth
chord on the second bar, rather than
waiting until the fifth bar, so
you're used to hearing that change.
And remember, we have five, seven,
and four going to the four chord,
like in the regular blues, but
in this case we actually put an,
even two chord before that.
So it's a two five to the four chord,
it's really cool.
So we kind of borrow the five minor seven
from a mode or something like that, and
throw it in there, it's totally allowed,
anything can, anything goes in jazz.
So F minor seven, B flat seven,
then we go to the four chord.
We do a little bit more borrowing from
outside of the key, pretending for a,
a couple of, for one bar that,
that we're in B flat minor.
And we go to the four minor chord,
it's a very cool chord.
And the flat seven, the two,
five related to that.
And we go to the regular three chord
five, seven, of two.
Okay, so that's G seven and B flat.
So five, seven,
of the two pulling us to the do chord,
the dominant chord of the two chord,
and then two, five, one.
And then we use the one, five,
seven of two, two, five,
one as what's called a turnaround.
Turnaround means a series of chords that
turns us around back to the beginning of
So the turn around here is.
One, five, seven of two, two, five, and
than you're back at the beginning.
That's a lot of information you know,
listen to it again make sure
you understand all of it.
If you don't please send
in your questions but
I'm gonna kind of play
through this kind of freely.
And I want you to try to follow along,
see if you can figure out where I'm using
arpeggios, where I'm using scale patterns,
where I'm throwing in chromatic neighbor
tones and upper tensions and
I, I'd love to hear where you think and,
and what you decipher from what I do.
And I'll be glad to respond to it, too,
online, so let's keep in tough on that.