12 Bar Blues – Final Line Substitutions
In this lesson we continue our exploration of gospel-style chord changes with a focus on chord substitutions for the final line of the 12 bar blues.
In the basic chord changes, the final line of the 12 bar blues is the V chord in bar 9, moving to the IV chord in bar 10, and returning to the I chord in bar 11.
Whilst this progression is characteristic of the blues, it is not the only option available. We now explore some additional chord substitutions that complement the gospel chord changes from our previous lesson.
Recap of Gospel Chord Changes Lessons
Reflecting on the last lessons, we played a C triad and an E7 chord in bar 7, followed by an A- triad and a D7 chord in bar 8. This D7 chord was used to transition into the V chord in bar 9 and we also noted options to enhance the voicing with a #5 or by using the tritone substitute.
Substituting Chords On The Final Line
We now substitute the G7 in bar 9 for a D7 chord. Thus, in bar 9, we will now play a D7 for the entire measure, move to a G7 in bar 10, and then resolve to C or C7 in bar 11. This sequence is essentially a II-V-I progression in C, but with all chords voiced as dominant chords: D7, G7, and C7.
Voicing these chords as dominants brings out an interesting half-step relationship between the 3rds and 7ths of the chords and also opens up new melodic possibilities that we explore in detail in the upcoming lessons.
Related Lessons
We build a triad a 4th up from each chord to create a suspended triad fill which smoothens the transitions between the chords in the blues.
We focus on the #5 tension and the variety of ways that this can be applied such as a passing chords, inner voices, and improvised fills.
The triad is the basic building block for many different types of chords. The 4 types of triads are major, minor, diminished and augmented.
Practice Tips
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Explore Substitutions: Practice substituting the D7 chord on the final line of the blues progression. This ties in with gospel-style changes and adds variety when playing multiple choruses of the 12 bar blues.
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Triads Fills: Focus on using simple triads for fills and voicings. For example, play an A minor triad followed by a G major triad to create interesting sounds over an A- chord, and arpeggiate the notes of a D triad over the D7 chord.
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Practice Plagal Cadences: Introduce plagal cadences as an alternative to the suspended triad fill. This is a useful fill for the D7 chord which we now play for the entirety of measure 9.
