C Minor Blues (some suggested voicings)

C‹7 C‹9(;5) C‹7 C‹7 C‹9(;5) C‹7 C7(#9)

3fr 3fr

° 4 bbw ˙˙ b˙˙ bb˙˙˙ ˙˙ bb˙˙˙ bnb˙˙˙

&4 w w
w
b
b ˙˙ n˙˙ ˙
b
b ˙˙ ˙ ˙
4 4 3 4 4 3 4 4
3 3 3 3 3 3 3
4 5 1 5 5 1 5 2
¢⁄ 3 3 3 3 3 3 3

F‹7 F‹(„ˆˆ9) F‹7 C‹7 C‹9(;5) C‹7 C‹9(;5)

5fr 3fr 3fr

5
° w ˙˙ ˙˙
& bbw
w bb˙˙˙ b ˙˙ bb˙˙˙ b ˙˙
w bb˙˙ b ˙˙
b
˙ b ˙˙ ˙ b ˙˙
1 3
1 1 6 4 3 4 3
1 1 5 3 3 3 3
1 1 6 5 1 5 1
¢⁄ 6 3 3 3 3

A¨13 G7(#5) C‹7 D‹7(b5) G7(#5)

4fr 5fr

9
° w bw w ˙
& bw
w w
w bbw
w
w b˙˙˙ nb˙˙˙
bw nw w ˙
3
6 4 4 6 4
5 4 3 5 4
6 3 5 6 3
¢⁄ 5
3
3 5
3

The above illustrates some chord voicings that could be employed whilst playing a C Minor Blues. The C7#9 chord at the
end of the fourth bar is sometimes used to 'set-up' the change to Fm7 on the fifth bar and this is worth experimenting with
in a variety of musical situations. The 'turnaround' section of the piece beginning on bar 9 can be played in a number of
different ways too, but the change from Ab13 to G7#5 is very common. It is often also played by using a Dm7b5 chord
moving to the G7#5 as well. The replacement of the Dm7b5 with an Ab7(13) chord is a form of tritone substitution.

This example is only one way to harmonise the chord changes and many others are possible especially when chord
substitutes are employed. To create more 'forward motion' with the chords try changing the notated rhythms to more
interesting and varied rhythms. This all helps in giving the listener greater variety and also avoids over repetitive rhythm
playing.

Other substitutions that could be employed are: using Ebmaj7 instead of the Cmin7 and also Abmaj7 instead of the Fm7.
It is however important when using these chord substitutions to 'mix' them with the original chords, so that the original
harmony doesn't sound as though it is being completely replaced. Again experimentation is the key here.