Examples of chorus harmonized blues
The first four examples of harmonization in this page are intended as standard examples of blues, while the fifth is clearly a pop-rock formulation. Examples six to fourteen are mostly common harmonic jazz progressions, depending on the various specific languages. The examples are in C, but it is also helpful to play them in other scales, transposing them according to the rules analyzed in the previous page.
1) |
| C7 | % | % | % | | 2) |
| C7 | % | % | % | |
3) |
| C7 | F7 | C7 | % | | 4) |
| C7 | F7 | C7 | % | |
5) |
| C F | % | C | C7 Bb | | 6) |
| C7 | F7 | C7 | % | |
7) |
| C7 | F7 | C7 | % | | 8) |
| C7 F7 | C7 | C7 Bb7 | C7 | |
9) |
| C7 | F7 | C7 | % | | 10) |
| C7 | F7 | C7 | Em7b5 | |
11) |
| C7 | F7 F#dim| C7 | Em7b5 | | 12) |
| C7 Em7b5 | F7 F#dim| C7sus4 | C7 Em7b5 | |
13) |
| Cmaj7 | Bm7 E7 | Am7 Abm7 | Gm7 Gb7 | | 14) |
| Cmaj7 | Bm7 Ebm7 | Am7 Abm7 | Gm7 Gb7 | |
Usually, if not specified, the blues are calculated as a major mode. We can find the blues in minor, where the sequence of 12 beat chords brings different harmonies. Here are some examples:
1) |
| Cm7 | % | % | % | | 2) |
| Cm7 | Fm7 | Cm7 | C7 | |
3) |
| Cm6 | F7 G7 | Cmmaj7 | Abmaj7 | | 4) |
| Cm7 | Fm7 | Cm7 | Gm7b5 C7b9 | |
These are only some examples of how to harmonize a blues chorus. We have therefore seen how to manage a succession of chords in a blues, jazz or rock environment. Everything can vary depending on the specific harmony that you want to obtain.
In the next page we will see how to play a blues accompaniment.
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