In this case, the lines between country and blues are a little blurry, at least to me. And if you have any doubt that this makes for a good slow blues, have a listen for yourself: But at its core, it’s just two chords repeating over and over. In this case, the movement is created by the lead guitar and walking bass. I – iiĪsk the late Etta James (and that’s a figure of speech because you can’t) because her “I’d Rather Go Blind” follows this form exactly, from start to finish.
Use this as a jumping off point for a minor blues adventure. King’s masterpiece, it’s worth a go, and if you know your way around barre chords, it shouldn’t give you too much trouble either. In this case, the transition from the IV to the III7 chord acts as the turnaround, guiding the ear back to the vi chord, which is “home,” in this case. The Eagles’ “I Can’t Tell You Why,” for instance, features a similar progression. “The Thrill Is Gone” has got a melancholy, even hopeless sound, and it owes a great deal to the chord progression, which is perhaps more pop or jazz than it is blues. Many would consider “The Thrill Is Gone” one of his masterpieces, and its chord progression is exactly as outlined above. But it’s the way he played those notes, and the sheer soul and power and thrust behind them that made him stand out from the rest. By his own admission, he played the same three or four notes over and over. King is often emulated, rarely matched, but his impact on the genre is beyond undeniable. But if you were to play a “minor” blues, it would look something like this.īlues legend B. vi – ii – vi – IV – III7īlues music generally leans heavily on the 12-bar structure in 12/8 time, the I, IV, and V chords, and a dominant seventh sound. It will serve you well in all your future endeavors. If you want to master the blues, master the 12-bar structure. And this creates space for awesome solos (usually guitar solos, but sometimes keyboard and bass solos too) to unfold. That’s where the blues is much simpler, usually with one progression that repeats throughout the entire song, usually in the same key. Some songs in other genres are far more complex, with multiple progressions and rhythmic patterns across different sections of the song (sometimes in different keys). What’s great about this 12-bar structure is that it’s easy to follow. Stevie Ray Vaughan’s “Pride And Joy” follows the above chord progression very closely, except that it’s in the key of Eb, and the first IV chord is replaced by a I:
And so on…Įither way, if you don’t already have a solid foundation in the blues, this would be the place to start! And then the progression is repeated for the duration of the song because that’s how blues songs work. I | IV | I | I | IV |IV | I | I | V | IV | I | VĪnd the final V chord is typically where there’s a “turnaround,” a chord or riff that creates a sense of completion while segueing back into the first chord in the sequence. Note that the above doesn’t show the progression in its most common “12-bar blues” form, which would be as follows: There are still some conventions that aren’t often challenged, though. Most songs are made up of the same three chords (I, IV, and V), except with variations on the duration of each. The truth is, there aren’t that many chord progressions in the genre of blues.
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