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Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]
Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
IV-V-I-VI chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV– â™ VII–IV: I–IV– â™ VII–IV. 3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I with tritone substitution (â™ II7 instead of V7) ii– â™ II –I: 3: Major ii-V-I with â™ III + as dominant ...
Eight-bar blues progressions have more variations than the more rigidly defined twelve bar format. The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." [1]
By thinking of this blues progression in Roman numerals, a backup band or rhythm section could be instructed by a bandleader to play the chord progression in any key. For example, if the bandleader asked the band to play this chord progression in the key of B â™ major, the chords would be B â™-B â™-B â™-B â™, E â™-E â™-B â™-B â™, F-E ...
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's "Blues for Alice".
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