2

CONTENTS
1. Things You Need To Know............................................. 4
2. Basic Jazz Blues Progression ...................................... 5
3. Turnarounds........................................................................ 6
4. Further Elaborations ...................................................... 10
5. Inversions.......................................................................... 13
6. Chord Families and Tonal Centres............................ 17
7. Substitutions .................................................................... 20
8. Single-line Soloing ......................................................... 21
9. Other Jazz Sounds.......................................................... 24
3
GROOVE BLUES
&
b
b
4
4
.
.
.
.

medium groove
q=
J
n b
9 8
w b
B79
6

J
n b
E9
9 8
&
b
b

j
#
J

j
b
B9
6 7
8 6

J
n b
B9 B79
9 8
w b
E9
6
&
b
b

J
n b
E
9 8
j
#
J

j
b
B9
6 7
8 6

J
n b
G79
9 8
&
b
b

Gsus D7
G7
13 13 13
10 10 10
8

B75
10 10 10
8
8 8
4
&

I
maj
II
mi
III
mi
IV
maj
V
dom7
VI
mi
VII
mi75
VIII(I)
maj
0 1
0 2
0 2 3
3
THINGS YOU NEED TO KNOW
1. THE ROMAN NUMERAL SYSTEM
For ease of reference Roman numerals are used to name chord types based on their
position in a MAJOR scale:
2. II, III and VI are usually minor chords, but can also be denoted as dom7ths, e.g. II
dom7, III dom7, VI dom7.
3. I and IV are usually dom7s in blues progressions.
4. TURNAROUNDS
The turnaround is the point at the end of a progression which takes us back to the
beginning.
It is usually two bars which end with chord V, leading back to chord I, at the beginning
(bars 11 and 12 resolving to bar 1).
&
b
b
.
.
.
.

G7 B7
8 8
1.

J
n b
B
9 8
2.

B
8
}
5
BASIC JAZZ BLUES PROGRESSION
Chords you need for the basic blues progressions:
)
```
`
I
)
`
`
^
` `
I
)
```
`
I
)
``
``
I
)
``
+ +
`
`
I
1 2 3 4
)
`
+ +
`
``
I
1 2 3 4
)
`
+ +
`
^
` `
I
1 2 3
`
)
+ +
`
^
``
I
2 3
)
`
+ +
`
^
` `
I
1 2 3
Basic Jazz Blues Progression
B7 | E9 | B7 | B9 |
)
`
`
^
` `
I
)
`
`
^
` `
I
)
```
`
I
)
``
``
I
`
)
`
^
``
I
)
`
`
^
` `
I
)
```
`
I
)
`
`
^
` `
I
E9 | E9 | B7 | B9 |
Cmi7 | F9 | B7 | F9 ||
Memorise this progression, moving it up and down the neck into different keys.
Turnaround
6
&
b
b
4
4

B7
8 10 8 10
6 8 10 6
.
j

10
&
b
b

B9
8 10 8 10
6 8 10 6
.
j

10
&
b
b

E9
8 10 8 10
6 8 10 6
.

j



10 10 8
10
&
b
b

3


3

B7
8 10 8 10
6 6 8 10 6
.
j

8 8
10
THINGS AINT WHAT THEY USED TO BE
(Ellington arr. Ingram)
7
&
b
b

b


j

Cmi7
8 6
8 8
3

b

3

A n

Cmi7 F9
8 6 8 6 6 7 8
8 8
&
b
b
.
.
.
.

B7
(B7 last time)

F9
8
TURNAROUNDS
Chords you need for the following turnarounds:
B7 B9 B13 B13 Gmi7
)
``
+ +
`
`
I
1 2 3 4
)
`
+ +
`
``
I
1 2 3 4
)
` `
& + +
`
`
I
1 1 2 3
)
`
+ +
``
`
I
1 4 2 3
`
)
+ +
`
^
``

2 3
`
)
```
+ + ^

4 1
`
)
`
+ +
`
`
^
1 2 3 4
)
` `
&
+ +
`
`

1 1 2 3
)
`
`
&
+ +
``
^
1 4 2
(or 3)
`
)
+ +
`
^
``
I
2 3
Gmi9 G79 G13 G13 Cmi7
`
)
```
+ + ^
I
4 1
&&
)`
`` `
+
+
I
4 1
` `
)
`
+ +
`
&
I
1
)
`
`
`
+ +
`
&
I
2 1
)
` `
&
+ +
`
`
I
1 1 2 3
)
+ + ^
``
``
I
1 1 2 3
`
)
++^
``
`
I
1 1 2 4
`
)
`
+ +
`
`
I
1 2 3 4
` )
`
++
`
^
`
I
1 2
(or 3)
4
Cmi9 Cmi7 Cmi7 C7 C13
F79 F7913 F79 F13
9
B13 G13 | C13 F13 | B13, etc.
)
` `
&
`
`
I
`
)
`
`
`
^
)
`
`
` `
&
I
)
`
`
`
^
`
I
)
` `
&
`
`
I
)
` `
&
`
`
I
)
`
`
`
^
`
^
)
` `
&
`
`
I
)
`
`
`
^
`
I
)
` `
&
`
`
I
B13 G79 | C7 F13 | B13, etc.
B13 G13 | Cmi7 F13 | B13, etc.
b) I, VI dom7, II, V turnarounds
1.
2.
1.
2.
c) I, VI dom7, II dom7, V turnarounds
)
``
``
I
`
)
`
`
`
^
&&
)`
`` `
I
`
)
`
`
`
I
)
```
`
I
)
` `
&
`
`
I
)
` `
&
`
`
^
` `
)
` `
&
I
)
`
`
^
`
`
I
)
` `
&
`
`
I
B9 G79 | Cmi7 F79 | B7, etc.
)
```
`
I
`
)
`
^
``

`
)
`
^
``
I
)
^
``
``
I
)
```
`
I
)
`
``
`
I
`
)
```
^

`
)
```
^
I
`
)
^
``
`
I
)
`
``
`
I
Substitute the following turnarounds for bars 11, 12 and 1 of the basic blues progression.
1.
2.
a) I, VI, II, V turnarounds
B13 Gmi9 | Cmi9 F7913 | B13, etc.
B7 Gmi7 | Cmi7 F79 | B7, etc.
10
FURTHER ELABORATIONS
Chromatic passing notes can be added between chords I (B7) and IV (E7):
)
` ` `
&
`
I
1 1 2
)
` `
&
``
I
1 1 2 3
)
`
^
`
` `
I
1 1 3 4
)
` ` `
&
`
I
)
` `
&
``
I
)
`
`
^
``
I
B7 B75 | E7 | etc.
1.
2.
B7 B75 | E9 | etc.
This type of voice-leading can be further extended:
)
` `
&
`
`
I
1 1 2 3
)
` `
&
``
I
1 1 2 3
)
`^
```
I
1 3
)
`
^
`
``
I
1 1 2 3
)
`
`
` `

1 4 2 3
)
`
``
`
^
I
)
`
`
` `
&
I
)
` `
&
``
I
)
` `
&
`
`
I
)
` `
&
`
`
I
1 1 2 4
` `
)
` `
&
I
B13 B75 | E9 E79 |
B6/9 Bdim | B7 B75 |
B13 B7 | Cmi7, etc.
(E6) (E79)
a) I 7, I 7#5, IV 7 sequences
11
The IV7b9 Chord
The IV 79, which also functions as a diminished chord, is used BETWEEN
chords IV and I:
)
``
``
^
I
1 1 3 4
)
`
`
``
I
2 1 3 4
)
`
`
^
`
`
I
1 2 4 3
E7 E75 | B7 | etc.
`
)
`
`
^
` `
I
1 2 3
)
`
`
``
I
2 1 3 4
)
`
`
``
^
)
` `
&
``
1 2 3
1111
`
)
`
`
^
` `
I
)
``
``
^
I
`
)
`
`
^
` `
I
`
)
`
`
^
` `
12
b) IV7, IV79, I 7 sequences
1.
2.
E9 | E79 | B13 | etc.
E9 | E79 | B13 | etc.
E9 | E79 | B13 | etc.
)
`
`
``
I
)
`
`
``
^
)
`
``
`
^
I
)
`
`
``
I
)
`
`
``
^
)
`
``
`
^
I
)
``
^
` `
1111
3.
12
PASSING CHORD BLUES
`
)
```
^
I
)
`
`
`
^
`
I
)
``
`
`
I
)
` `
&
`
`
I
)
` `
&
``
I
)
`
`
^
``
I
)
`
``
`
^
I
`
)
`
`
^
` `
12
`
)
`
`
^
` `
11
`
)
`
`
^
` `
1
`
)
`
`
^
` `
^
)
`
`
^
``
I
)
`
`
` `

)
`
``
`
^
I
`
)
`
`
%
`
I
)
` `
&
``
I
)
` `
&
`
`
I
)
` `
&
`
`
I
)
` `
&
`
`

`
)
```
^
I
`
)
`
`
^
`
I
)
`
`
``
I
)
`
`
``
^
)
`
``
`
^
I
)
``
^
` `
1111
B13 B75 | E9 E79 |
B6/9 Bdim | B6 B75 |
E9 | E79 |
B9 A9 | A9 G9 |
Cmi9 | F13 F139 |
B13 G13 | Cmi9 F9 B B13
(last time bar)
13
INVERSIONS
Dom 7th
&
b
b

w
w
w
b
7
6
6
w
w
w
w
b
6
5
6
5
w
w
w
w b
3
3
5
6
w
w
w
w
b
4
3
5
3
&
b
b

w
w
w
w b
6
3
5
6
w
w
w
w
b
8
9
7
8
w
w
w
w
10
8
10
8
w
w
w
w
w
b
13
13
13
12
13
&
b
b

w
w
w
7
7
6
w
w
w
w
6
5
3
5
w
w
w
w
3
3
3
5
w
w
w
w
5
6
7
8
B7 B9 B13 B9
)
` `
+ + +
`
I
1 2 4 3
)
`
+ +
`
` `

1 4 2 3
B9 B9 B13 B9
Maj 7th
)
`
+ +
` `
I
1 2 4 3
Bmaj7 Bmaj9 B6 Bmaj7
)
`
+ +
`
``
I
1 2 3 4
)
``
% + +
`
`

1 2 3
`
`
)
``
^ + +

1 1 2 3
`
)
`
+ +
`
`
I
1 4 2 3
)
``
``
^ ++
I
1 1 3 4
`
)
`
`
^
`
+
`
1 2 3
12
`
)
+ +
`
`
`

4 1 2 3
)
`
`
+ +
`
^
`

1 3
)`
`
+ +
`
`
I
4 1 3 2
14
&
b
b

w
w
w
w
6
6
7
5
w
w
w
w
8
8
7
7
w
w
w
w
10
10
10
8
w
w
w
w
13
13
12
12
&
b
b
b
b
b

w
w
w
6
6
6
w
w
w
w
6
3
3
4
w
w
w
w
n
3
6
6
6
w
w
w
w
4
6
6
8
&
b
b
b
b
b

w
w
w
w n
6
6
6
5
w
w
w
w
8
6
6
6
w
w
w
w
9
9
10
8
w
w
w
w
13
11
13
11
)
`
`
+ +
` %
`
I
1 2 3
B6 B6/9 Bmaj7 B6/9
Mi 7th
`
)
+ +
`
^
`
I
2 3
)
` `
+ +
`^
`
I
1 3
Bmi6 Bmi7 Bmi13 Bmi7
Bmi6 Bmi9 Bmi7 Bmi7
)
`
```
^ + +
I
1 4
)
`
`
+ +
` %
`
I
1 2 3
)
``
+ + ^
``
1 1 4 3
1111
`
)
`
+ +
``%
%
I
1 3
`
)
`
`
+ +
`
^
I
4 1
`
)
`
``
%
%
1 3
12
)
`
+ +
``
%
`

1 4 2
)
`
+ +
` ``

1 2 3 4
` )
)
`
+ +
` `

4 1 2 3
15
SONNYMOON FOR TWO
(S Rollins arr. Ingram)
&
b
b
4
4

.
b

B7
6
9 6

b
J

b
J

E9
8 6
8 6 8
&
b
b

b


B7
6 8 6
8

b


B9
6 8 6
8
&
b
b

.
b

E9
6
9 6

b
J

b
J

E79
8 6
8 6 8
&
b
b

b


B7
6 8 6
8

b


B9
6 8 6
8
16
&
b
b

.
b

Cmi7
6
9 6

b
J

b
J

Cmi7 F9
8 6
8 6 8
&
b
b
.
.
.
.

b


B7
6 8 6
8
(B7 last time)

b


Cmi7 F7
6 8 6
8
17
CHORD FAMILIES (TYPES)
There are 3 chord types:
Major (Maj, Maj7, Maj6, Maj9, 6/9, etc.)
Minor (mi, mi7, mi6, mi9, mi6/9, etc.)
Dom (7th, 9th, 13th, 7th9, 7th9, etc.)
Chord types are interchangeable. Consequently a chord can be viewed in 3 ways:
`
)
`
`
^
` `
^
`
)
`
^
`

`
)
`
^
`

)`
`
`
`
^
)`
`
`
`
^
)`
`
`
`
^
_
`` `
+~
`
_
` `` `
+
`
C9 Gmi B6
Gmaj7 Emi9 A13sus
=
=
or
or
Each choice provides a possible key centre (Tonal area) for improvisation and comping.
Many jazz guitarists like to MINORISE dominant chords.
Wes Montgomerys composition, CARIBA, is a good example of minorising the
dominant. It is a B blues, in which Montgomery substituted an Fmi7 for the B9 and a
Bmi7 for the E9.
becomes
``
)
`
` `
+
I
``
)
` ` `
+
I
becomes
B9 Fmi7
and
B9 Fmi7
18
Not only did Montgomery use other inversions of the mi7th chord (shown below), but
he also used the Fm and Bm tonal centres for his improvisations.
The result: an F MINOR Blues in B!
Fmi7 Inversions for Cariba
`
_
`
+ +
`
&
`
1
)
`
`
+ +
` %
`

1 2 3
)
``
^ + +
``
I
1 1 4 3
)
`` `
++
`
&
I
1
)
`
`
+ +
` %
`
I
1 2 3
)
``
^ + +
``
I
1 1 4 3
Bbmi7 Inversions for Cariba
19
CARIBA
(F minor Blues over a B Blues)
&
b
b
4
4

)
`` ``
&
'
)
``
`
`
%
)
` `
``
^
I

b
1

b
2
3
1
J

4
1
3
1
Fmi7 Fmi7 Fmi7
1 1 4 8
1 1 4 6
1 1 5 8
1 1 3 6
simile

J

4 8 4
4 6 4
5 8 5
3 6 3

b
J

1 1 4 8
1 1 4 6
1 1 5 8
1 1 3 6
&
b
b

4 8 4
4 6 4
5 8 5
3 6 3
)
`` ``
&
I
)
``
`
`
% I
)
` `
`
^
`
11

b
b

b
b
J

Bmi7 Bmi7 Bmi7

b
b

9 13 9
9 11 9
10 13 10
8 11 8
&
b
b

b
J

1 1 4 8
1 1 4 6
1 1 5 8
1 1 3 6
)
`` `
`^ I
)
``
`
`
% I

J

b
J

b
n
3
1
J

n
b
n
4
3
1
G9 F13
4 8 9 10
4 6 9 8
5 8 9 8
3 6 8 7
)
``
`
`
% I

S1
J

S2

b
4
3
1
E13
10 1310 8
6
7 10 7 10 8 6
5
8 6
&
b
b
.
.
.
.

S1
J

S2

b
b

8 11 8
5 8 5 8 6
6 4

b
J

1 1 4 8
1 1 4 6
1 1 5 8
1 1 3 6

J

b
4 8 4
4 6 4
5 8 5
3 6 3
(see p.24)
20
CHORD SUBSTITUTIONS
Interchangeable chord types/families form the basis for SUBSTITUTION, both for
chords and improvisation. We now have three possibilities for our B Blues.
These choices allow us to use any (or all) of the three chord families.
Study the following and observe the notes common to each shape.
` )
`
`
^
` `
I
`
)
`
`
&
`
I
)
`
`
^
`
I
`
_
```
^
`
_
```
&
`
_
```
&
` )
`
`
^
` `
I
)
`
`
^
`
I
)
`
`
^
`
I
B13 Fmi9 Amaj7
E13 Bmi9 Dmaj7
Chord IV7:
F13 Cmi9 Emaj7
Chord V7:
The resulting choices for soloing and chord playing would be B7, Fmi or Amajor
(the three chord types).
Resulting choices are E7, Bmi or Dmajor.
Resulting choices are F7, Cmi or Emajor.
Chord I 7:
21
SINGLE-LINE SOLOING
&

etc.
I

1
b
4
b
1

3
b
1

b
b

b

b
3 1 3 1 4 1 4
1 4
1 4
1 3
1 3
1 3
1 4
2. F blues scale
3. Amajor scale (contains the F Aeolian mode).
&
b
b
b
b

etc.
III

{
{

}
}
1 3 4 1 3 4 2 4 1 4
3 4
4 6
3 5 6
3 5 6
3 4 6
4 6
&

etc.
I

1
b
4
b
1
n
2

3
b
1

b
b n

b

b
3 1 3 4 1 4 1 4
1 4
1 4
1 3 4
1 3
1 2 3
1 4
4. Amajor arpeggio
&
b
b
b
b

etc.
III

4
V

VIII

1 2 1 4 1 2 1 4
8 11
8 9
5 8
5 6
3 6
3 4
Jazz soloing ideas are based on these substituted tonal centers,
Fmi or Abmaj7 over Bb7
Use any of the following:
1. F minor Pentatonic
22
Bbmi or Dbmaj7 over Eb7
&

etc.
VI
b
1
b
4
b

b
b
b
b

b
b
b
1
3 1 3 1 3 1 4 1 4
6 9
6 9
6 8
6 8
6 8
6 9
&

etc.
VI
b
1
b
4
b n

b
b
b
b n

b
b
b
1 2
3 1 3 1 3 4 1 4 1 4
6 9
6 9
6 8 9
6 8
6 7 8
6 9
2. Bblues scale
Use any of the following:
1. Bminor Pentatonic
&
b
b
b
b
b

etc.
III

VI

{
{

}
}
1 2 4 1 3 1 3 1 2 4 1 3 4
6 8 9
6 7 9
3 5 6 8
3 4 6
4 6
3. Dmajor scale (contains the BAeolian mode)
&
b
b
b
b
b

etc.
III

VI

1 4 1 1 1 4 3 4
8 9
6 9
5 6
3 4
3 4
4. Dmajor Arpeggio
23
&

etc.
III

1
b
4
#

b

b
#
'

b
VIII

b
1 2 3 1 3 2 4 1 1 4 1 4
2 3 6 8 11
4 6
3 5
3 4 5
3 6
Cmi or Ebmaj7 over F7
&

etc.
III

1
b
4

b

b


b
VIII

b
1 3 1 3 2 4 1 4 1 4
3 6 8 11
4 6
3 5
3 5
3 6
2. C blues scale
3. Emajor scale (contains the C Aeolian mode).
4. Emajor arpeggio
&
b
b
b

etc.
III

{
{

VIII

}
}
1 3 4 1 3 1 2 4 1 2 4 1 3 4
3 4 6 8 10 11
3 4 6
3 5
3 5 6
6
&
b
b
b

etc.
III

3 4 1 2 1 4 1 2
3 6 10 11
3 4
5 6
5 6
Use the following:
1. C minor Pentatonic
24
OTHER JAZZ SOUNDS
1. Octaves
)`
`
++ + +
1 4
)`
`
+ + ++
1 4
)
`
`
+ + ++
1 3
)
`
`
++++
1 3
Shape 1 Shape 2
Fmi Pentatonic in Octaves
&

Shape 2
Shape 1

1
3

b
b

b
b

b
b
1
4

4 6 8 11 13
4 6
3 5 1 3 5 8 10
3 6 1 3
1 3
1 4
Octaves used in C Jam Blues
& 4
4

Shape 1

1
4

13 13
10 10

13 13
10 10
.
.

12
13
9
10

& 4
4

Shape 2

1
3

5 5
3 3

5 5
3 3
Shape 1
.
.

5
5
2
3

25
& 4
4

C7
13 13
10 10

F9
13 13
10 10
.
.

C7
12
13
9
10

C9
&

F9
13 13
10 10

F9
13 13
10 10
.
.

C7
12
13
9
10

C9
&

Dmi7
13 13
10 10

Dmi7 G9
13 13
10 10
.
.

C7
12
13
9
10

&

C7
5 5
3 3

F9
5 5
3 3
.
.

C7
5
5
2
3

C9
C JAM BLUES
(Ellington arr. Ingram)
26
&

F9
5 5
3 3

F9
5 5
3 3
.
.

C7
5
5
2
3

C9
&

Dmi7
5 5
3 3

Dmi7 G9
5 5
3 3
.
.

C7
5
5
2
3

2. Slides and Smears

III

b
3
5
III V
J

b
7 7 7 5 3
etc.
j

4 5 4 5
Try upping your string gauges to an 11, 12 or 13 (top E) based set.
27
3. Four-Finger Spacing
Adopt a four-finger spread (1st and 4th finger) instead of three (lst and 3rd) based on
a two-octave major scale:
&
#

II

3 4 1 3 4 2 4 1 2
2 3
3 5
2 4 5
2 4 5
2 3 5
3 5
&
#

II

4 1 4
2
2 5 5
2 5
3
Example:
` ` `
`
`` ` ` `)
`
`
` ````````
`
`
^
1 `
2 `
3 `
4 `
4. Worry Notes
Using the above 1 and 4 finger (4 fret) spacing, pick out and stress the 2nd, 9th, 6th and 13th.
&
#

>

>

>

>
G7
5 5 5 5
.

.

>

>
5 3
4
5 2 2
&
#

>

>
3 5 5
4
2 5
etc.

>

>
5 5
28
BLUES IN THE CLOSET
(O. Pettiford arr. Ingram)
&
#

b




C9
3 5 3
5 5 5
J

b


j

5 3
5
5 5
&
#

n

J

G7
4 5 4
5 5 5

5 5
&
#
4
4

G7
4 5 4
5 5 5
J

5 4
5
5 5
&
#

4 5 4
5 5 5

5 5
29
&
#

Ami7
4 5 4
5 5 5
J

D9
5 4
5
5 5
&
#

G7
4 5 4
5 5 5

j
}
5 5
}