30 Minute Improv Class "All Blues" Chord Progressions

Added: 2026-05-11

[00:00:00]Here we go.

[00:00:01]This is October 4th. I can't believe it, 2020.

[00:00:05]We're going to start on uh all blues uh for the next few weeks.

[00:00:14]It's in the key of G, just to [music] go over it.

[00:00:17]And to C.

[00:00:20]Back to [music] G.

[00:00:22]And then a D7 sharp nine. [singing] And then an [music] E flat seven sharp nine down to D7 sharp nine again, and back to G7.

[00:00:37]And it's in a 6/8 timing or a 3/4 timing. 1 2 >> [music] >> 3 1 2 1 2 3 1 >> [music] >> 2 1 2 3 1 2 Just to keep it real simple for a second, [music] and to C7.

[00:01:00]>> [music] >> Back to C7. G seventh, I mean. Sorry.

[00:01:04]Yeah.

[00:01:04]>> [music] >> Now D7 sharp nine.

[00:01:11]Up a half a step, >> [music] >> back down, and back to G seventh.

[00:01:19]To the five, and you're back at the top.

[00:01:23]Okay? So, let's just play through that once or twice.

[00:01:29]Oh, look at that. Not bad. Right on.

[00:01:32]Just to get used to playing kind of the you know, 1 2 3. The real simple basic foundation of the whole 6/8 blues. Okay?

[00:01:44]So, let's just play it through a couple times. And you can experiment with 13 chords and, you know, different inversions. Feel free to obviously do that. Since we're all muted, that's the beautiful part about the mute button.

[00:01:58]So, okay, here we go. 1 2 1 2 3 1 2 3 >> [music] [music] >> Now to C7.

[00:02:20]>> [music] >> G7 D7 sharp 9, the Hendrix chord.

[00:02:37]Up a half step >> [music] >> back down and back to the G7.

[00:02:44]>> [music] >> Quick little five chord, back to the top.

[00:02:49]>> [music] >> And this is the swing 3 4.

[00:03:01]>> [music] [music] >> And this part always kind of hangs on like [music] this. It's the uniqueness of the tune.

[00:03:25]>> [music] >> Keep going, I'll play the melody.

[00:03:34]It's a very simple melody.

[00:03:40]>> [music] [music] [music] >> How cool is that, right?

[00:03:58]2 3 1 2 >> [music] >> Now it stays.

[00:04:06]>> [music] >> So it's a very interesting melody cuz it's very simple.

[00:04:17]They have the rolling piano chords.

[00:04:21]Now the other part of the tune, which we're going to do before we start the melody, cuz it's an important part of the song, is the All right, that's a B and [music] a D.

[00:04:42]And then a C.

[00:04:45]And an E. [music] And then a D and an F.

[00:04:50]>> [music] >> Now I mean this is a blues riff that you can [music] take into all styles of music.

[00:05:00]So let's just practice [music] this. 1 2 3 >> [music] >> Okay, so let's get the metronome and just practice that.

[00:05:17]Because that's an important thing that we can take into improvisation.

[00:05:23]>> [music] [music] >> All right, you can that could be a great jumping off point into some blues playing.

[00:05:38]So we'll practice that with the metronome.

[00:05:41]>> [music] >> Just that. We're not going to go on, just the G seventh part.

[00:05:48]>> [music] [music] [music] [music] [music] >> Good. Now, when we go to the C seventh, it's the same thing only the difference is the third, which is B >> [music] >> for the G seventh.

[00:06:28]The big difference in the blues between the one and the four chord is that B [music] becomes B flat for the C seventh. All the other notes kind of are the same.

[00:06:41]But, that's the big difference. So, instead of >> [music] >> we're going to hit a B flat.

[00:06:51]>> [music] >> And back to the B for the G [music and singing] seventh.

[00:06:58]That's very cool. Very, very cool. And I think um Cannonball Adderley and John Coltrane played that together.

[00:07:07]>> [music] >> All right.

[00:07:15]>> [music] >> And now we come up to the [singing] C seventh.

[00:07:18]So, we hit the B flat.

[00:07:20]>> [music] >> And back [music] to the G.

[00:07:32]And then the D seventh [singing] sharp nine. [music] And Okay, now this is good to know because when we're soloing over a blues and in this progression, we do not want to be landing on a B natural on a C7.

[00:07:58]Right? So, that's why this is important to kind of get this sound in our head.

[00:08:04]Okay, and it's also a good pattern for a 3 4 or a 6 8 that >> [music] [music] [music] >> So, just have that in as the timing.

[00:08:33]Cuz that's a big part of this all blues is it's 6 8 or 3 4. It's not the usual 4 4 blues. So, our usual blues licks that we play for 4 4 blues aren't going to really work.

[00:08:49]I mean, the notes are the same, don't get me wrong, but the usual riffs we play in 4 4. So, that's why it's good to get these little rhythms down. So, now let's move on to the melody, which I love this melody. I think it's such a brilliant simple melody.

[00:09:07]Starts on a B note.

[00:09:14]Isn't that cool? Just right off the bat.

[00:09:16]Just starts on the B while a ba >> [singing] [music] >> And then, one >> [music] >> one two.

[00:09:28]Right? You see that? That's the interval [music and singing] of a sixth.

[00:09:39]And that's the suspended.

[00:09:41]And then he does it again and then resolves.

[00:09:48]Wow, doesn't get much simpler than that.

[00:09:51]And you think, [clears throat] "Oh, Miles Davis, big time, you know, modern player." Boy, he's right in the pocket there.

[00:09:57]So, it's pretty interesting. So, now let's practice. Oh, then let's go to bar nine for the C7.

[00:10:05]>> [music] >> He starts on the A, the 13th.

[00:10:10]And he just runs up the scale.

[00:10:14]Back down to the A and then for the G again and he resolves [music] on the G note.

[00:10:24]Okay? And then he uses a G sharp to lead into bar 17, which is an A note over the B7 sharp nine.

[00:10:37]And then up a half a step when the chord goes back down, he stays on the D on the B flat.

[00:10:51]>> [music] >> And he resolves on the A to the G. See that? It's very interesting there. So, on bar 17 2 [music] 3 1 2 3 and it stays there.

[00:11:05]>> [music] >> And back down the G.

[00:11:11]And back down [music] the very simple scale.

[00:11:14]Okay, so I'm going to put the metronome on and we'll play through the uh play through the melody a couple of times, okay?

[00:11:24]1 2 3 1 2 3 >> [music] >> 2 3 1 2 3 >> [music] [music] >> 1 2 3 1 2 3 1 2 3 1 2 3 [music] 1 1 2 3 1 I'll put the rhythm in.

[00:12:10]>> [music] [music] [music] [music] [music] [music] [music] >> Play it again.

[00:12:58]>> [music] >> 1 2 1 >> [music] [music] >> 1 >> [music] [music] >> 1 >> Now, try putting it all on the the B string and do some slides.

[00:13:42]And kind of try to make it your own that way. Try to put some different phrasings in, meaning some expressions.

[00:13:51]You know, use the melody cuz it's such a simple melody and the guitar is a great instrument for slides and >> [music] >> you could bend that up. Look at this.

[00:14:06]I always like that. Tommy Emmanuel loves to do that.

[00:14:15]Right?

[00:14:16]>> [music] [music] [music] >> Right? So, you could be a little free with the phrasing and I'll keep some strong rhythm for you, you know.

[00:14:44]>> [music] >> I'll just keep it right in your face with that strong rhythm so you could take this melody and kind of make it your own and that's that's the way I approach anytime I've played a solo on this tune, whether it's a show or recording, wherever. I try to take that approach because it's very hard to just kind of blow the blues that you usually play on this tune.

[00:15:16]So, that's why I'm kind of starting with this as a way to uh to get introduced to, you know, playing a cohesive solo that fits the song really. And I think that's a great way to fit the tune. So, I'll get a little vamp going for you.

[00:15:34]And then I'll count you in.

[00:15:37]>> [music] >> Okay, here we go.

[00:15:45]>> [music] >> 1 2 3 >> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> Okay, now it's kind of the next step I want throw out there to you for this tune is that whole concept of the >> [music] >> It's a great sound that you hear a lot.

[00:17:27]It's the whole tune.

[00:17:29]>> [music] >> You know, that Allman Brothers theme.

[00:17:36]>> [music] >> Paper Moon, there's a lot of songs that kind of [music] go in that fifth to fifth, I call >> [music] >> And there's your triad, right?

[00:17:54]Your little G, it's like your D chord only on G, >> [music] >> and then the suspended it's like It's that sound.

[00:18:10]>> [music] >> Right? Now, when we hit the C7, the only difference again is what? The B becomes B flat.

[00:18:23]And then back to Right? So, it's kind of an interesting approach to take if you go on boom >> [music] >> And then you have [singing] uh something that comes in >> [music] [music] [music] >> It's the same notes. The only difference that happens is that B flat bec- uh B becomes a B flat on the C7.

[00:19:04]So, it's a cool little concept and a cool again area.

[00:19:08]I'm starting to you know, um kind of figure out areas that I usually go to when I you know, I'm approached with okay, your turn to play a solo. Well, it's a great area. [music] So, it's a cool approach. Now, for the D7 sharp 9 I'll never forget in high school in ninth grade, I was the guitarist in the McDonald's jazz band.

[00:19:48]I made the second band because the first band guy was a senior.

[00:19:54]So, anyway and I remember I had a solo and I saw the chord D7 sharp 9 and it was one of those like one of those funky big band things and I came from, you know, playing >> [music and singing] >> So, I was like, hold it. D7 sharp 9 and it was years later that I remember that I thought it's all the notes of the pentatonic.

[00:20:21]The D pentatonic. We don't have to think about a complicated D7 extended this and that chord.

[00:20:32]>> [music] >> And then you resolve on your G chord.

[00:20:40]So, it's >> [music] >> Now, I'll play it.

[00:20:53]>> [music] [music] >> Then you resolve on that G.

[00:21:05]So, on that D7 [music] sharp go ahead, play a little D pentatonic and I'll hit the chord.

[00:21:13]>> [music] >> Hear how it works so well?

[00:21:22]It's all the [music] notes of the D7 sharp nine.

[00:21:27]Right? So, you come roaring in there >> [music] >> and then up a half step and then back down to D. Man, you're going to really have some fun in there without worrying about, "Oh my god, a D7, D, F sharp, A, C, D, E flat, and F."

[00:21:47]It's like too much to think about. So, simplify it. Pentatonic.

[00:21:54]Okay? So, and it works really well. So, with that said, let me play you some rhythm.

[00:22:02]Play the melody through and jam on those concepts. All right?

[00:22:11]A one, two, three, one.

[00:22:16]>> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> Here we go with the pentatonic.

[00:24:06]>> [music] [music] >> One more.

[00:24:19]>> [music] [music] [music] [music] [music] [music] [music] [music] [music] >> Okay, now here's a point where okay, you're a couple times in and all right, we've done that nice thing with the thing. Now it's time to maybe get down a little bit and play some blues.

[00:25:22]>> [music] [music] >> Instead of the now we're in the >> [music] [music] >> that Charlie Christian run sound.

[00:25:44]Remember we kind of went over that.

[00:25:48]All of those notes, the combination of the minor and the major pentatonics, but you don't want to go overboard. You want to really define your ideas in this kind of tune cuz there's a lot of rhythm going on.

[00:26:04]Usually you're going to be playing this with either if you're just playing with another guitar player even, he's you know [music] >> [music] >> there's a lot to do in there. So you don't want to play too much. That thing of running eighth notes doesn't for me anyway, it doesn't quite cut it with this tune to really say something.

[00:26:27]So suggestion is maybe mix up the concept of >> [music] >> do some of those cool little blues licks like you're used to, but in the 3/4, but you're going to notice the timing is like oh, where am I for a second?

[00:26:47]With me for 3/4 anyway, that took a long time for me to get you know, so used to playing in 4/4 and then I do my licks that I usually do and they don't work out the same way rhythmically in 3/4, obviously. So, it's kind of cool to work with that and just remain open to a lot of space because if you ever do lose your spot in the timing you know, it's just a second or two it's just a second or two that you um can take to get your beat back and then start up again.

[00:27:25]Okay, so with that said, I'll just play a little more rhythm for you. Best way to Okay, and then try with a little blues now. Little more traditional.

[00:27:39]>> [music] >> And then when you get to the D then maybe >> [music] >> you know, switch back and forth. Try to really make some cool musical statements.

[00:28:00]Remember the silence and the space is very important to defining your idea.

[00:28:09]Okay, no matter how simple the idea. I mean, look at the music here. This is the simplest idea in the world, these little melodies that Miles wrote and they're the best-selling jazz records of all time. So, there's something to be said for a good strong, solid musical idea.

[00:28:25]Okay, uh here we go.

[00:28:30]A one, two, three, one, two, three.

[00:28:36]>> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> Okay, now you play the rhythm.

[00:29:56]>> [music] [music] [music] [music] [music] [music] [music] >> Okay, you got it.

[00:30:39]>> [music] [music] >> Okay, I'll take four.

[00:30:52]>> [music] [music] [music] >> You got it?

[00:31:07]>> [music] [music] >> Okay, I just want to leave you with where we're going to go with this next week to give you some food for thought for the week.

[00:31:26]As obviously we have our G [music] sevens and then we have our two chord that's associated with the dominant.

[00:31:36]D minor. [music] Now, that leaves a whole realm of possibilities here.

[00:31:44]>> [music] >> All right?

[00:31:50]>> [music] [music] >> All right, that's for the C seventh.

[00:32:08]We're looking at a two minor.

[00:32:12]>> [music] [music] >> Okay, so we're going to be taking a little closer look into that. I'll put some materials up uh during the week just to throw out there the different concepts that you may think about and want to look at when you're approaching a solo like this because again, it's not your ordinary little blues tune.

[00:32:43]It's got a whole vibe to it. The space involved, all the rhythm going on underneath. So, you don't have to do much, but you do have to define your ideas.

[00:32:56]All right. So, that's a way to help define your ideas is to look at the major blues, >> [music] >> the minor pentatonic, and now you have your two-five kind of licks that you can put into into this, which we'll get into a little more next week.

[00:33:21]All right. Any questions? Obviously, uh in the chat please ask away, and great stuff. Great stuff. So, thanks so much. We'll see you next week.