Blues To Jazz

BLUES TO JAZZ
The Essential Guide to

Chords, Progressions and Theory
By Jack Eskridge
CONTENTS
About the Author
Introduction
Three-Note Chords
CHAPTER ONE • The Major Key
Blues Theory
Chord Diagrams
“Slow Change” Blues
“Quick Change” Blues
Five Chord Blues
Passing Chord Blues
Jazz Blues
Advanced Jazz Blues
Be-Bop Blues
Progressive Jazz Blues
CHAPTER TWO • The Minor Key
Blues Theory
Chord Diagrams
“Slow Change” Minor Blues
“Quick Change” Minor Blues
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Five Chord Minor Blues
Minor Jazz Blues
Advanced Minor Jazz Blues
Progressive Minor Jazz Blues
CHAPTER THREE • The Progressions – Chord “Grids” Above
Part One: Blues to Jazz – Major Key
Part Two: Blues to Jazz – Minor Key
CHAPTER FOUR • The Progressions – “Fakebook” Style
Part One: Blues to Jazz – Major Key
Part Two: Blues to Jazz – Minor Key
Afterword
Typography and Design by Charylu Roberts, O.Ruby Productions

www.ORubyProductions.com and SelfPublishMusicBooks.com
Cover Design by Elyse Wyman
Copyright ©℗ 2014 Jack Eskridge / Fretline Music

All Rights Reserved Used by Permission
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ABOUT THE AUTHOR
J ack Eskridge is a guitarist, composer, and educator who has performed and
taught full-time in the San Francisco Bay Area since 1967. In the late 1960s, as
leader of the original recording groups Strawberry Window and Dandelion Wine,
he helped pioneer the “psychedelic” rock sound of that era.
In the 1970s, he played and recorded with a variety of rock, blues, fusion and
jazz bands. Since the 1980s, he has performed regularly with his jazz group and is
known for his original compositions, unique arrangements of standards, and a style
which has been influenced by Wes Montgomery, George Benson and the late Joe
Pass, with whom he studied privately. His other influences include Robben Ford,
Larry Carlton and Chuck Loeb, in the blues and fusion genres.
He has taught guitar for the UC Berkeley Jazz Ensembles and for Diablo
Valley College. Currently, he is teaching full time at his Orinda, California studio,
while completing a series of guitar instruction books for publication.
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INTRODUCTION
T he twelve-bar blues progression is the most universal structure in popular

music. In addition to its use in the blues genre, it provides the harmonic basis
for many songs found in folk, country, gospel, soul, pop, rock and jazz. The simple
and repetitive three-chord form is easy to follow and memorize, and can be
improvised upon by musicians at all levels of proficiency.
The purposes of this book are as follows:
• To introduce three-note “rhythm” chords and demonstrate their usage in

blues and jazz through a graduated series of progressions.
• To identify and define the most common twelve-bar blues forms (“Slow
Change,” “Quick Change,” etc.).
• To show the many possible examples of passing chords, cycle

progressions and harmonic substitutions likely to occur in blues-based
jazz.
• To illustrate numerically the structural formulas that define each of the

twelve-bar blues forms, (i.e., I7 → IV7, V7 → I7, IIMI7 → V7, etc.).
• To translate all the numerical symbols into actual, playable chords, and
to transpose the resulting chord progressions into different keys.
T he musical journey for most guitar players begins with a study of folk and
acoustic styles and then proceeds through the various levels and types of
electric rock. As these players progress toward more complex musical styles like
blues, fusion and jazz, they begin to experience a large disconnect. Although they
are now familiar with open-string folk chords and rock-sounding bar chords
(including the partial bar shapes known as “power chords”), they soon realize that
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new chords need to be learned. These new moveable chord forms consist of three
or four notes (on an equal number of strings), and are voiced to avoid the doubling
of notes or the involvement of open strings. This results in chords that are more
emotionally nuanced and have faster mobility across the fingerboard.
In this book, only three-note voicings will be used; each progression has been
carefully designed to achieve smooth “voice-leading” between successive chords.
(Voice-leading is the practice of connecting two chord voicings with minimal
intervallic movement between the notes, particularly the highest-pitched).
The final two chapters of this book have been written in a guitar-based
“fakebook” style: a circled number has been placed below each chord name to
represent the fret location of that chord’s bass note, while the guitar chord diagrams
have been transfered to the bottom of each page.
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THREE-NOTE CHORDS
W hen a guitarist progresses from folk and rock styles into blues and jazz
territory, the first chords he needs to master are the three-note voicings
known as “rhythm” chords. Since these voicings are actually reduced versions of
four-note chords, they may also be described as “shell” chords.
These structures are designed for quick grab-and-release movement, which

also makes them ideal for faster tempos and the staccato rhythmic patterns needed
for traditional swing, gypsy jazz and big band styles. In addition, the low mid-range
placement makes them an effective choice when playing with another guitarist or
pianist who voices his chords in a higher pitch frame.
Although three-string chords are usually down-strummed by pick or thumb

with a quick flick of the wrist, they may also be plucked in a hybrid style that
involves the pick and middle two fingers. This technique not only achieves an even
attack and volume per string, but also allows separation of the bass note from the
remaining higher notes of each chord, eventually leading to “walking style” bass
line accompaniment.
When played on strings six, four and three, the low-to-high interval
arrangement is root/seventh/third. When played on strings five, four and three the
low-to-high arrangement is root/third/seventh.
In order to reduce these four-note seventh chords to three-note voicings, a

single note must be omitted. Since the perfect fifth interval is the least important
note in a seventh chord’s structure, that note is typically the one eliminated. (See
Example 1.)
Example 1
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This harmonic reduction does not change the character of common jazz
chords like CMA7, C7 and CMI7. However, chords that have an altered fifth in their
construction like C+, CMI7-5 and C°7 will require special attention.
For example, while a sharp fifth must appear in a C+, a flatted fifth may be
implied for a CMI7-5 or C°7 voicing.
Example 2
Because of the fingering limitations of three-note chords, it often becomes

necessary for two differently-named chords to share the same exact structure. The
most appropriate name for each chord will then be determined by the implied
natural or flatted fifth.
(Notice that an implied flatted fifth interval will always appear in

parentheses.)
Example 3
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(Whether a chord is written as a CMI7 or CMI7-5 is an important distinction,
since it provides essential harmonic information to both the bassist and soloist.)
By comparing the following three-note “shell” chords to their four-note

counterparts, the concept of an implied fifth becomes obvious.
Example 4
Finally, note that when a flatted fifth is present in a CMI7-5 or C°7 voicing, the
minor third can usually be implied.
Example 5
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CHAPTER ONE
MAJOR KEY THEORY

With Blues Application
W hile the chords used in basic musical styles like folk, rock and country
typically consist of major and minor triads, the chords found in blues and
jazz are based on four-note seventh chords.
As an example, the diatonic (scale-tone) chords found in a classic jazz

progression would appear numerically as:
In the key of C major, these symbols would translate into the following
chords:
However, in a blues or jazz-blues context, those diatonic chords are usually

altered and would most likely appear as:
When applied to a common jazz key like B♭ those previous jazz-blues

chords would translate into:
In the key of F, the chords would be:
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Specifically, the blues-based variations most likely to appear in a major key would
be:
• IMA7 becomes I7.
• IIMI7 is often replaced by II7.
• IIIMI7 usually becomes IIIMI7-5.
• IVMA7 becomes IV7.
• VIMI7 often becomes VI7, especially when cycling toward IIMI7 or II7.
• VIIMI7-5 is usually replaced by ♭VII7 or ♭VIIMA7.
Major Key Chord Diagrams
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“Slow Change” Blues
The most basic twelve-bar structure in blues is the “Slow Change” form—so
named since the first chord (I7) is slow to change to the next (IV7), delaying that
chord’s appearance until the fifth measure. (In a typical blues progression, the
second chord appears by the second bar.)
Since the “Slow Change” blues contains so few chords, it is often played at
moderate to fast tempos, including the blues “shuffle,” in which each pair of eighth
notes is played with a galloping rhythmic feel (think of a “tied-triplet” feel, as
opposed to an even pair of eighth notes). This “tied-triplet” effect can be easily
remembered by saying the name “Humpty Dumpty,” since the first syllable of each
word has a longer duration than the second.
In addition to its common usage in blues, this chord progression was the
model for many of the classic rock songs of the late 1950’s, such as “Rock around
the Clock,” “Johnny Be Goode,” and “Hound Dog,” to name just a few.
Points of Interest:
• Notice the repetition of the I7 chord through the first four measures.
• The IV7 appears for bars five and six.
• The I7 appears for bars seven and eight.
• The V7 appears in bars nine and ten.
• The final measure will be either a repeat of the I7, or a V7 that cycles
back to I7 at the first measure.
In the key of “C”, for example, the sequence would often be: C7 (four bars),
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F7 (two bars), C7 (two bars), G7 (two bars) with a return to C7 in the final two
bars.
The following example illustrates this progression numerically, as it would

apply to any key:
In a common blues key like A, the progression would look like this:
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In the key of D, the progression would look like this:
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“Quick Change” Blues
The most popular structure in twelve-bar blues is the “Quick Change” form—
so named because the I7 chord in the first measure is quick to change to the IV7
chord in the second bar, and the V7 in bar nine is quick to change to the IV7 in bar
ten.
Also, note that the final two-bar turnaround consists of a four-chord

progression that is quick to change every two beats (I7 → IV7 → I7 → V7).

apply to any key:
In a common blues key like A, the progression would look like this:
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Five Chord Blues
A more advanced chord progression in this genre is the Five Chord Blues.
This form is also sometimes found in gospel, country and jazzier blues styles.
(Think Ray Charles, rather than B.B. King.)
This structure is called the Five Chord Blues, since the original three-chord
formula that consisted of I7, IV7 and V7 has been expanded to include two new
chords: the VI7 and II7. (In some instances, a IIMI7 might replace the II7.)
Points of Interest:
• The VI7 in measure eight sets up a cycle progression to the II7, V7 and I7
chords that follow.
• The final two-bar turnaround is a condensed version of the previous four

bars (and the four chords they contain).

apply to any key:
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(The VI7 may sometimes be replaced by VIMI7 and the II7 may be replaced by
the IIMI7.)
In a common blues key like A, the Five Chord blues progression would look
like this:
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Passing Chord Blues
The following progression is an expansion of the Five Chord Blues, in that

the original chords are now connected by passing chords, whose purpose is to
chromatically “set up” each forthcoming change. These passing chords are usually
dominant seven-type voicings that approach their destinations by half step (one fret)
from above or below. Of these two options, the best selection is usually the passing
chord that shares the same melody (i.e. highest) note as the preceding chord,
although that option is not always available.
This progression has been designed to demonstrate a thorough use of passing

chords, which is why at least one appears in every measure. However, in an actual
playing situation, passing chords are used less frequently (maybe once or twice
every three bars) and may sometimes appear for only a single beat at the end of a
measure, rather than for the two beats indicated.
I have placed all the passing chords in parentheses to better identify them.
Also, in bars seven and eight, I have included a descending, four-chord
progression, known as a “walk-down.” to show how two consecutive passing
chords can sometimes connect two regular chords (I7 down to VI7).
The addition of so many passing chords to the Five Chord Blues progression
results in a structure so harmonically dense that it would typically be identified as
“jazz,” rather than “blues.”
In a common jazz key like B♭ the progression would look like this:
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Jazz Blues
As blues evolves into jazz, the difference between the odd-numbered

“strong” measures and the even-numbered “weak” measures becomes more
apparent. While the chords in bars one, three, five, seven, nine and eleven represent
tonic-sounding destinations, the chords in the even-numbered measures usually act
as transitions toward those more classic, predictable sounds. This concept is
demonstrated in the following progression, which, like the “Slow Change,” “Quick
Change” and Five-Chord Blues, is based on a well-established formula.
Points of Interest:
• The first appearance of minor, diminished, and half-diminished chords.
• The appearance of a VMI7 to I7 chord change in measure four, which

functions as a IIMI7 to V7 cyclical approach toward the IV7 in bar five.
• The #IV°7 chord in bar six creates an ascending bass line from the IV7 in
the previous measure. (Ideally, this change would resolve to a second
inversion I7 in bar seven.)
• The IIIMI7-5 to VI7 change in bar eight essentially acts as a IIMI7-5 to V7

progression toward the actual IIMI7 in bar nine, which then cycles to a
V7 in bar ten.
• The four-chord “turnaround” in the final two bars is a condensed version

of the previous four measures (and the four chords they contain).
The next example demonstrates this progression numerically:
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In a common jazz key like B♭ the progression would look like this:
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In a common jazz key like F, the progression would look like this:
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Advanced Jazz Blues
Unlike the four previous harmonic formulas, the Advanced Jazz Blues
structure is only one of many options that can be used to create an even jazzier-
sounding progression.
Points of Interest:
• The IV7 chord in bar two has been replaced by a more cyclical IIMI7 to
V7 change.
• The I7 in bar four has been replaced by a VMI7 to ♭V7 change, which
acts as a IIMI7-♭ II7 approach to the destination IV7 chord.
• The IV7 in bar five is now followed by a IVMI7 in bar six, which then
smoothly descends to a IIIMI7 (a common sub for the I7).
• A IIIMI7-5 now precedes the VI7 in bar eight to essentially create a IIMI7-5
to V7 lead-in to the actual IIMI7 chord in bar nine.
• The V7 in bar ten is joined by its tritone sub of ♭II7 to create a “drop-in”
to the I7 that begins the turnaround in bar eleven.
• The VI7 in bar eleven is replaced by its tritone sub of ♭III7 to create a
“drop-in” to the IIMI7 in bar twelve.
• The V7 in the last bar has been replaced by its tritone sub of ♭II7 to
create a “drop in” to the I7 back at the first measure. (The IIMI7 in bar
twelve may also sometimes appear as a II7.)
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In a common jazz key like B♭, the progression would look like this:
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Be-Bop Blues
An even more advanced jazz-blues structure is the so-called “Be-Bop” blues.

Based on the Charlie Parker composition “Blues for Alice,” this progression is
sometimes known as “Bird Blues,” in reference to Charlie Parker’s nickname,
“Yardbird.”
Points of Interest:
• In the “Be-Bop Blues” structure, the traditional I7 in the first measure

and the IV7 in bar five have been replaced by IMA7 and IVMA7 in those
same measures, producing a much jazzier sound.
• The VIIMI7-5 to III7 in bar two essentially acts as a IIMI7-5 to V7 lead-in to

the VIMI7 chord in bar three, that chord being a common sub for the
IMA7 that typically reappears in that measure.
• The IVMA7 chord in the fifth measure then progresses to a IVMI7 in bar
six.
• The IVMI7 then descends chromatically to a IIIMI7 in bar seven, that

chord being a common substitute for the expected IMA7 in that measure.
• The IIIMI7 in bar seven descends chromatically to a ♭IIIMI7 to ♭VI7

change, which functions as a “drop-in” II-V progression to the actual
IIMI7 in bar nine.
• The “turnaround” in the last two measures begins with a IIIMI7

substitution for the expected IMA7 chord, which then drops
chromatically to a ♭III7 (the tritone sub for the expected VI7). That
♭III7 sub then descends to the expected IIMI7 in the final measure,
which then drops to a ♭II7 (the tritone sub for the traditional V7) to
create a final “drop in” back to the IMA7 in the first measure.
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Progressive Jazz Blues
The following progression is a harmonically expanded version of the

previous Advanced Jazz Blues structure. It is only one example of many options.
Points of Interest:
• The I7 in the first measure initiates a seven-chord “perfect” cycle that

leads to a ♭V7 in bar four, which then drops chromatically into the
expected IV7 in bar five.
• The ♭VIMI7 to ♭II7 change in bar six is known as a “tritone two-five

substitution,” since both chords are a tritone distance from the implied
IIMI7 to V7 progression that would typically precede the I7 in the next
measure.
• The IV7 that follows the I7 in bar seven can be perceived as a

descending passing chord (a “drop-in”) to the IIIMI7-5 in bar eight.
• The IIIMI7-5 to VI7 change in measure eight initiates a series of

chromatically descending IIMI7 to V7-type progressions, until arriving at
bar eleven.
• The ♭VII7 that appears at the top of bar eleven is a common substitute
for the expected I7 chord. (Note that the ♭VII7 also initiates a perfect
four-chord cycle through the turnaround.)
• In bar eleven, the ♭IIIMA7 that follows the ♭VII7 represents a tritone sub
for the expected VI7 in that measure.
• The ♭VI7 at the top of bar twelve is a tritone sub of the expected IIMI7.
• The ♭II7 that completes the progression acts as a tritone sub of the
expected V7 chord and creates a “drop in” movement back to the I7 in
the first bar.
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CHAPTER TWO
MINOR KEY THEORY

With Blues Application
T he chords derived from a minor key give the blues its characteristic
melancholy feel. For this reason, blues progressions in minor keys tend to be
played at slower tempos. It should also be noted that the exotic flavor of these
chords makes them compatible with Latin-style rhythms.
The differences between the diatonic (scale-tone) chords of a blues-based

major key and those of a blues-based minor key are demonstrated by the following
alterations:
• I7 becomes IMI7.
• IIMI7 will sometimes be replaced by IIMI7-5.
• IIIMI7-5 becomes ♭IIIMA7.
• IV7 usually becomes IVMI7.
• V7 sometimes becomes VMI7.
• VIMI7 becomes VIMI7-5 (sometimes ♭VI7 or ♭VIMA7).
• ♭VII7 may be replaced by ♭VIIMA7 (sometimes VIIMI7-5 Or VII°7).
As the progressions advance from blues to jazz, the following harmonic

changes may also occur:
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• The IVMI7 in measure two may be replaced (or followed) by a ♭VII7.
• The repeated IMI7 in measure four could become a VMI7-5 to I7 change,

thereby creating a II-V approach to the IVMI7 chord in bar five.
• The IVMI7 in bars five and six may sometimes appear as a ♭VI7 chord.
• If a repeated IVMI7 occurs in bar six, that chord may be replaced by a

♭VII7 (or ♭VII7 to VII°7) change.
• While a V7 in bar nine is often followed by a IVMI7 in bar ten, that tenth
measure may also feature a two-chord change of ♭VI7 to V7 (or
♭VIMA7 to V7).
• The V7 (or VMI7) to IVMI7 change in bars nine and ten may become a
IIMI7-5 to V7 progression instead.
• If a IIMI7-5 appears in bar nine (when cycling toward a V7 in bar ten), it

may be replaced by a ♭VI7 or a ♭VIMA7 in that same measure.
• Any “turnaround” progression in measures eleven and twelve may be

replaced by a turnaround from the relative major key (located a step-
and-a-half higher than the original minor key).
For example, in a key like A minor, the turnaround progression may appear as
CMA7–FMA7–BMI7-5–E7; or as CMA7–AMI7–DMI7–G7.
Minor Key Chord Diagrams
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“Slow Change” Minor Blues
The most basic twelve bar structure in minor key blues is the “slow change”
form—so named since the first chord (IMI7) is slow to change to the next (IVMI7),
delaying that chord’s appearance until the fifth measure. (In a typical blues
progression, the second chord (IVMI7) appears by the second bar.)
While the original “slow change” blues progression consisted of three

dominant seven-type chords, this new minor key structure will utilize the IMI7,
IVMI7 and VMI7chords. (In some cases a V7 chord may replace a VMI7.)
Since the “slow change” minor blues structure contains so few chords, it is
often played at moderate to fast tempos.
In the key of “C,” for example, the sequence would be: CMI7 (four bars), FMI7
(two bars), CMI7 (two bars), GMI7 (two bars) with a return to CMI7 in the final two
bars.

apply to any key:
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In a common blues key like A minor, the progression would look like this:
In the key of D minor, the progression would look like this:
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In the key of F minor, the progression would look like this:
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“Quick Change” Minor Blues
The most popular structure in minor key blues is the “quick change” form, so
named because the IMI7 chord in the first measure is quick to change to the IVMI7
chord in the second bar and when the third chord (V7) appears in bar nine, that
chord is quickly followed by the IVMI7 in the tenth measure.

apply to any key:
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Five Chord Minor Blues
A more advanced minor key chord progression is the Five Chord Minor
Blues. This structure is so named since the original three chord formula which
consisted of IMI7, IVMI7 and VMI7(or V7) is now joined by two new chords: VI7 and
IIMI7-5.
Points of Interest:
• The expected IMI7 in bar eight (typically a repeat of the IMI7 in bar
seven) has been replaced by a VI7 chord, which initiates a four chord
cycle to the IMI7 in bar eleven.
• The final two-bar turnaround is a condensed version of the previous four

measure section and the chords therein.

apply to any key:
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Minor Jazz Blues
As minor blues chord progressions advance toward jazz, they acquire

harmonic approach patterns and diatonic cycles. These are demonstrated in the
following progression:
Points of Interest:
• The VMI7-5 to I7 change in bar four acts as a pre-minor IIMI7-5 to V7

approach to the IVMI7 chord in bar five.
• The ♭VI7 chord in bar ten acts as a “side step” between the V7 chords in
bars nine and ten. (A “side step” is a common blues option when the
same chord repeats for two or more measures. It usually occurs with
dominant seventh-type chords and involves the chord a half-step higher
than the original.)
• The IIMI7-5 to V7 change in bar twelve is the minor key cycle approach to
the IMI7 that begins the progression in bar one.

apply to any key:
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In a common jazz key like A minor, the progression would look like this:
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Advanced Minor Jazz Blues
Unlike the previous progression’s well established formula, the following

advanced structure is just one of many possibilities which can be used to create an
even jazzier feeling.
Points of Interest:
• The IVMI7 to VII°7 change in bar two is part of a minor key diatonic
cycle and results in a smooth, chromatic connection to the IMI7 in bar
three.
• The ♭VIIMI7 to ♭III7 change in bar four represents a “back door” II-V
progression to the IV7 in bar five. (A “back door” II-V substitution
approaches its destination from a whole step below.)
• The IVMI7 to ♭VII7 to ♭IIIMA7 in bars six and seven actually represent a
substitute II-V-I progression in the relative major key.
• The ♭VIIMI7 to VI7 change in bar eight represents a IIMI7 to ♭II7-type

movement to the ♭VI7 in bar nine, which now functions as a tritone sub
for the expected IIMI7-5 in that measure.
• The ♭III7 in bar eleven is a tritone sub for the expected VI7.
• The ♭VI7 at the top of the final measure acts as a descending passing
chord (“a drop-in”) to the V7, which completes the entire twelve bar
progression. The V7 chord then cycles back to the IMI7 in the first bar.

apply to any key:
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Progressive Minor Jazz Blues
The following progression is similar to the previous Advanced Minor Jazz

Blues structure in that it is only one example of many possible options.
Points of Interest:
• The ♭VII7 in bar two is a fairly common substitution for the expected
IVMI7. (It often appears as a ♭VII7 sus, as well.)
• The ♭VIIMI7 to ♭III7 change in bar four acts as a IIMI7 to V7 approach to

the ♭VI7 in bar five.
• The ♭VI7 in bar five is a fairly common sub for the expected IVMI7.
• The ♭II7 in bar six is a tritone sub for a V7, and acts as a “drop-in” to
the IMI7 in bar seven.
• The VMI7 to I7 change in bar eight initiates a descending chromatic

sequence of IIMI7-V7 progressions until cycling into the turnaround at
bar eleven.
• The ♭IIIMA7 and ♭VIMA7 chords in bar eleven act as a IMA7 to IVMA7
change in the relative major key.

apply to any key:
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CHAPTER THREE
BLUES TO JAZZ PROGRESSIONS

Chord “Grids” Above
T he following major and minor progressions are designed to present a wide

variety of three-note “rhythm” chords, as well as to show the full range of
harmonic options that may occur in a repetitive, twelve-bar blues format. Starting
with the most basic three-chord forms, these progressions gradually evolve into
such advanced jazz-sounding structures that they no longer bear much resemblance
to their blues origins.
For the benefit of those guitarists who are not already familiar with three-note
chords, a small “grid” diagram has been placed directly above each measure. This
practice has been found to be the most efficient method for acquiring the correct
fingering and fret location of each new chord that may appear when playing through
unfamiliar progressions.
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BLUES TO JAZZ
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Major Key Jazz Blues
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BLUES TO JAZZ
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Minor Key Jazz Blues
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BLUES TO JAZZ
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CHAPTER FOUR
BLUES TO JAZZ PROGRESSIONS

“Fakebook Style”
O nce a guitarist is familiar with three-note rhythm chords, he should no longer

require such obvious visual reminders as the chord “grids” that appeared
above each measure in the previous chapters, and should now be ready to develop
the reading skills necessary for “fakebook” style music charts. (To make the sight
reading more of a challenge, and to encourage the memorization of each chord,
these grid diagrams have been transferred to the bottom of the page.)
Notice that a circled number now appears directly below each chord name.
This number represents the fret location of that chord’s bass note, and since most
three-note chords are voiced with the root in the bass, these voicings can be easily
located by learning the note names on the sixth and fifth strings. Each guitarist must
then determine which string contains that specific bass note, as this will reveal the
appropriate chord formation to be used. (Note that the “circled number”
identification system is a learning tool for this guitar book only, and will not be
found in typical song charts.)
Although a standard “fakebook” arrangement provides the most concise and

familiar reading experience for the professional jazz musician, it creates more of a
sight reading challenge for the beginning guitarist, since fret positions and diagrams
are not included.
NOTE: While jazz song collections have traditionally been identified as

“fakebooks,” they are currently referred to as “Real” books, such as The Real
Book, The New Real Book, and The Real Vocal Book.
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AFTERWORD: WHAT’S NEXT?
H aving played through all of the progressions in this book, the guitarist should
have mastered most of the most common three-note “rhythm” chords, and can
now apply those same chords, as options, to all of the jazz standards typically
found in professional music “fakebooks.”
The next level of musical progress for the guitarist requires the memorization
and facility of the more commonly used four-note chords. Typically voiced to
include the second string, these chords sound fuller than the original three-string
types; and, unlike those simpler voicings, the new chords provide a full range of
harmonic extensions (ninths, elevenths and thirteenths) and alterations (flat and
raised fifths or ninths, etc.). Accordingly, there will be many more of these new
four-string chords to learn and dozens of new jazz/blues progressions for their
application in the upcoming, BLUES TO JAZZ – Book Two.
Until then, enjoy!
481

Blues To Jazz - The Essential Gu - Jack Eskridge

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Blues To Jazz - The Essential Gu - Jack Eskridge

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The Essential Guide to

CHAPTER ONE • The Major Key

“Slow Change” Blues

“Quick Change” Blues

Five Chord Blues

Passing Chord Blues

Advanced Jazz Blues

Progressive Jazz Blues

CHAPTER TWO • The Minor Key

“Slow Change” Minor Blues

“Quick Change” Minor Blues

Minor Jazz Blues

Advanced Minor Jazz Blues

Progressive Minor Jazz Blues

CHAPTER THREE • The Progressions – Chord “Grids” Above

Part One: Blues to Jazz – Major Key

Part Two: Blues to Jazz – Minor Key

CHAPTER FOUR • The Progressions – “Fakebook” Style

Part One: Blues to Jazz – Major Key

Part Two: Blues to Jazz – Minor Key

Typography and Design by Charylu Roberts, O.Ruby Productions

Copyright ©℗ 2014 Jack Eskridge / Fretline Music

T he twelve-bar blues progression is the most universal structure in popular

The purposes of this book are as follows:

• To introduce three-note “rhythm” chords and demonstrate their usage in

• To show the many possible examples of passing chords, cycle

• To illustrate numerically the structural formulas that define each of the

These structures are designed for quick grab-and-release movement, which

Although three-string chords are usually down-strummed by pick or thumb

In order to reduce these four-note seventh chords to three-note voicings, a

Because of the fingering limitations of three-note chords, it often becomes

(Notice that an implied flatted fifth interval will always appear in

By comparing the following three-note “shell” chords to their four-note

MAJOR KEY THEORY

As an example, the diatonic (scale-tone) chords found in a classic jazz

However, in a blues or jazz-blues context, those diatonic chords are usually

When applied to a common jazz key like B♭ those previous jazz-blues

In the key of F, the chords would be:

• IMA7 becomes I7.

• IIMI7 is often replaced by II7.

• IIIMI7 usually becomes IIIMI7-5.

• IVMA7 becomes IV7.

• VIIMI7-5 is usually replaced by ♭VII7 or ♭VIIMA7.

Major Key Chord Diagrams

• The IV7 appears for bars five and six.

• The I7 appears for bars seven and eight.

• The V7 appears in bars nine and ten.

The following example illustrates this progression numerically, as it would

Also, note that the final two-bar turnaround consists of a four-chord

The following example illustrates this progression numerically, as it would

• The final two-bar turnaround is a condensed version of the previous four

The following example illustrates this progression numerically, as it would

In the key of D, the progression would look like this:

The following progression is an expansion of the Five Chord Blues, in that

This progression has been designed to demonstrate a thorough use of passing

As blues evolves into jazz, the difference between the odd-numbered

• The first appearance of minor, diminished, and half-diminished chords.

• The appearance of a VMI7 to I7 chord change in measure four, which

• The IIIMI7-5 to VI7 change in bar eight essentially acts as a IIMI7-5 to V7

• The four-chord “turnaround” in the final two bars is a condensed version

The next example demonstrates this progression numerically:

The next example demonstrates this progression numerically: