To Blues Chord Progressions for Ukulele from A...

By

CURTSHELLERwww.curtsheller.com

Cover ukulele image courtesy of Flea Market Music &

The Magic Fluke Companywww.FleaMarketMusic.com

Soprano, ConcertTenor & Baritone Ukuleles

"C" and "G" Tunings

A GuideTo Blues Chord Progressions for Ukulele fromA to Z Featuring 26 basic and advanced chord progressions with example chords. Chapters covering substitution principles and how to transpose chords progressions.

Curt Sheller Publications2050 Orlando Rd., Suite 101Pottstown, PA 19464-2348www.curtsheller.com

2 A Guide to Blues Chord Progressions for Ukulele

A Guide to Blues Chord Progressions for Ukulele

Copyright © 2005 by Curt Sheller

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact Curt Sheller Publications.

Crut Sheller Publications2050 Orlando Rd., Suite 101Pottstown, PA 19464-2348610 326 7295

International Standard Book Number (ISBN) ISBN: 0-9714044-4-5

Printed and bound in the United States of America

The Advanced Guide to Blues Chord Progressions for Ukuleleby Curt Sheller


3A Guide to Blues Chord Progressions for Ukulele

ContentsIntroduction ........................................................................................................................................... 5

Chord Substitution Principles .................................................................................................... 7Passive Chords ..........................................................................................7Active Chords ...........................................................................................7Direct Substitution .....................................................................................8 Replacement ............................................................................................8Expansion ...................................................................................................9Superimposable .......................................................................................9Non-superimposable .............................................................................10Note Substitution ...................................................................................11The Minor Third Substitution Principle ...................................................12

bVII7 ...................................................................................................12bII7 ....................................................................................................13III7 ......................................................................................................14

Blues Progressions ..........................................................................................................................15Basic “Major” I IV V Progression - Example A ......................................16Basic “Major” I IV V Progression - Example B .....................................18Major “Quick Four” Progression - Example D ......................................22Minor “Quick Four” Progression - Example E .......................................24Linking Substitution - Example G ...........................................................28Linking Substitution - Example H ...........................................................30Linking Substitution - Example I .............................................................32Diminished Seventh Passing Chord - Example J .................................34Diatonic / Chromatic Substitution - Example K .................................36Diatonic / Chromatic Substitution - Example L ..................................38Diatonic / Chromatic Substitution - Example M ................................40Diatonic / Chromatic Substitution - Example N .................................42“Backdoor” Substitution - Example O ..................................................44Confirmation Changes - Example P ....................................................46Lewis Changes - Example Q .................................................................48Coltrane Blues - Example R ...................................................................50The Tritone Substitution - Example S .....................................................52The Tritone Substitution - Example T .....................................................54The Tritone II V Substitution - Example U ..............................................56The Tritone II V Substitution - Example V ..............................................58

Cont’d...



Contents

The Tritone II V Substitution - Example W ............................................... 60Backdoor bVII7 Substitution - Example X ............................................... 62Backdoor II V Substitution - Example Y .................................................. 64Backdoor II V with Tritone Substitution - Example Z .............................. 66

Rhythm Changes ................................................................................................................................ 69Rhythm Changes - Basic ......................................................................... 70Rhythm Changes - Jazz Variation ........................................................... 72

How to Practice Chord Progressions ..................................................................................... 75

Conclusion ............................................................................................................................................... 79



Introduction

The “Blues” are at the heart of all American music. It has influenced Country, Rock, Folk, Jazz, Bluegrass and just about every form of American music we listen to today.

Studying the blues chord progressions presented in this book will open a wealth of creative possibilities for exploring chords and chord progressions in all styles of music, not just the blues.

The “Blues”... is a scale, a set of “chord changes” and also a feeling. This book covers the “chord changes” or progression part of the blues.

Here is a common twelve measure blues progression in the key of C major.

| C (I*) | | | |

| F (IV*) | | C (I*) | |

| G7 (V*) | | C (I*) | |

Measure one, five, seven, nine and eleven are critical measures where the I, IV and V chords MUST appear or their direct diatonic substitutions for a progression to remain a blues progression.

The most common form of a blues chord progression is twelve measures in length containing three four measure sections:

4 measures of the I chord

2 measures of the IV chord and 2 bars of the I chord

2 measures of the V chord and 2 measures of the I chord

Totaling 12 measures

* These uppercase roman numerals correspond to the chord’s function with in its major or minor tonality. See the author’s book Harmonic Analysis for Scale Selection and Chord Substitution for more information.



While other measure lengths are possible, such as eight and sixteen measures, the twelve measure form is the most common.

This books covers the more common twelve measure form with common substitutions presented in the key of C.

There are twenty six chord progressions and example solutions for Standard “C” tuning “gCEA”, low or high “G” tuning and Tenor “G” tuning “dGBE”, low or high “D”. The

Tenor tuning examples can also be played on a Baritone ukulele typically tuned “DGBE”, the same tuning as the thin fours strings of a standard tuned guitar. If you are a guitar player coming to ukulele from guitar there is a lot of information that is transferable.

Introduction



Chord Substitution Principles

A substitution is when a chord replaces an existing chord or is used in addition to an existing chord.

Chords can have a active or passive quality to them. Active chords tend to be restless and want to move on to other chords. Passive chords tend to offer a felling of rest and resolution and don’t need to move on. This cycle of active and passive chords are what give chord progressions their feeling of movement, cycling over and over within songs and progressions.

Passive Chords

Passive chords can be substituted for Passive chords.

In the key of C major the passive chords are the I, III and VI chords. As triads these are C Em and Am. As 4-part chords they are Cmaj7, Em7 and Am7.

In the key of C minor the passive chords are the I, III and VI chords. As triads these are C Eb and Ab and as 4-part chords they are Cm7, Ebmaj7 and Abmaj7.

Example VI and III chords can substitute for a I chord.

Active Chords

Active chords can be substituted for Active chords.

In the key of C major the active chords are the V II VII and IV chords. As triads these are G Dm, Bdim and F. As 4-part chords they are G7, Dm7, Bm7b5 and Fmaj7.



In the key of C major the active chords are the V II VII and IV chords. As triads these are G Dm, Bdim and F. As 4-part chords they are G7, Dm7b5, Bm7b5 and Fm7.

Example II, VII and IV chords can substitute for a V chord.

Example (Major & Minor)

PASSIVE ACTIVE

I V III II

VI VII

IV

Direct Substitution

A direct substitute is when the root of the substitute chord matches the root of the original chord.

There are two types of direct substitutions, replacement and expansion with the substitution characteristics of being Superimposable or non-Superimposable.

Replacement

The original chord is removed and replaced with the substitute in the same time frame.





Expansion

Original chord remains plus the substitute in the same time frame.

Superimposable

Various upper partials (9, 11 and 13) can be used as a direct substitute without changing the scale that would be used to create melodies or to improvise over the chord.

Superimposable substitutions are direct substitutions, either replacing or expanding the existing chord.




Non-Superimposable

Alterations (#4, b5, #5, b9, #9, #11, b13).

Non-superimposed substitutions are direct substitutions, either replacing or expanding the existing chord. The scale selected for use over these chord to create melodies and improvise would depend on the alteration(s) used.

* minMaj7




Note Substitution

6 for maj7, 6/9 for maj7, m6 for m7, mL7* for m7.

Note substitutions are direct substitutions, either replacing or expanding the existing chord.

* minMaj7




The Minor Third Substitution Principle

The Minor Third Substitution Principle states that a chord, ANY type, whose roots are 1 1/2 steps (a minor third) apart can substitute for each other. The most common are 7th chords. These chords can be proceeded by their II chords.

Example Key of C

V --> bVII7--> bII7--> III7

G7 --> Bb7 --> Db7 --> Fb7 (E7) Fm7 Bb7 | |

IVm7 Abm7 Db7 |

bVIm7 Bm7 E7

VIIm7

bVII7

A common substitution, at times only the IVm7 or IVm6 chord are used. This substitution is some times referred to as a Backdoor, due how the resolution to the I is approached.




bII7

This is the most common Minor Third Substitution Principle used in jazz called the tritone substitution. This turns a Full Diatonic* progression into a Chromatic* progression.

* See the author’s book Harmonic Analysis for Scale Selection and Chord Substitution for a description of these terms and more information.



III7

A rare substitution but worth exploring.




TitleBlues Progressions

This chapter presents and comments on different chord substitutions for a typical twelve measure blues progression in the key of C and Cm.

Using the chords from the my book’s “A Guide to Ukulele Chords” and “The Advanced Guide to Ukulele Chords”, each example is presented with one possible solution for ukulele using Standard “G” tuning (gCEA or GCEA) and Tenor “D” tuning (dGBE or DGBE). Other solutions are possible and should be explored, as well as additional keys.

These same substutition principles can be applied to any chord progression, not just the blues.



Basic “Major” I IV V Progression - Example A

This is a basic I IV V blues chord progression in the key of C major. The I, IV, and V refer to the chord’s function within it scale or tonality.

A C

|| / / / / | / / / / | / / / / | / / / / | I*

F C

| / / / / | / / / / | / / / / | / / / / | IV I

G C

| / / / / | / / / / | / / / / | / / / / || V I




Example A



Basic “Major” I IV V Progression - Example B

It is common for the I, IV and IV chords to be 7th chords.

B C7

|| / / / / | / / / / | / / / / | / / / / | I7

F7 C7

| / / / / | / / / / | / / / / | / / / / | IV7 I7

G7 C7

| / / / / | / / / / | / / / / | / / / / || V I7



Example B



Basic “Minor” I IV V Progression - Example C

For a blues progression in a monir key the I and IV chords are minor or m7 chords. the V chord remains a maj or 7th chord.

TRACKC Cm

|| / / / / | / / / / | / / / / | / / / / | I

Fm Cm

| / / / / | / / / / | / / / / | / / / / | IV I

G (G7) Cm

| / / / / | / / / / | / / / / | / / / / || V I



Example C



Major “Quick Four” Progression - Example D

To break up the monotony of six measures of a I chord when the progression is repeated. A V chord is added to measure twelve turning the progression back to the I chord. A IV chord is added to measure two, returning to the I chord in measure three. This change is often referred to as a “Quick Four” change. A IV chord can also be added to measure ten.

Chords can be major triads or 4-part seventh chords.TRACK

D C7 F7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7

F7 C7

| / / / / | / / / / | / / / / | / / / / | IV7 I7

G7 F7 C7 G7

| / / / / | / / / / | / / / / | / / / / || V IV7 I7 V



Example D



Minor “Quick Four” Progression - Example E

A minor version of the major “Quick Four” chord progression. Chords can be triads or 4-part chords.

E Cm Fm Cm

|| / / / / | / / / / | / / / / | / / / / | I IV I

Fm Cm

| / / / / | / / / / | / / / / | / / / / | IV I

G7 Fm Cm G7

| / / / / | / / / / | / / / / | / / / / || V IV I V



Example E



VI for IV Substitution in Minor Progression

Here the V chord is moved to measure ten and a VI chord is added to measure nine. TRACK

F Cm Fm Cm

|| / / / / | / / / / | / / / / | / / / / | I IV I

Fm Cm

| / / / / | / / / / | / / / / | / / / / | IV I

Abmaj7 G7 Cm G7

| / / / / | / / / / | / / / / | / / / / || VI V I V

Measure nine could also be Dm7b5, a II chord.

Dm7b5 G7 Cm G7

|| / / / / | / / / / | / / / / | / / / / |I II V V I V



Example F



Linking Substitution - Example G

An expansion substitution in measure four treats measure five as a temporary tonic or I chord. The C7 is acting as a V of IV Secondary Dominant* chord and can be proceeded by its II chord. A diatonic expansion substitution, II for IV in measure nine is created by moving the V chord to measure ten. This same substutition has been applied to measure twelve.

A more harmonically active turnaround has been added to measures eleven and twelve and will be used, or a variation for the remaining examples.

TRACKG C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 Vm7 I7 ( II V of IV )

F7 C7

| / / / / | / / / / | / / / / | / / / / | IV7 I7

Dm7 G7 C7 F7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 IV7 I7 V ( sub for IV )




Example G



Linking Substitution - Example H

Example G on page 28 used a II V of IV Secondary Dominant linking substitution. This same substitution principle can be applied to measure eight and eleven using the Secondary Dominant V of II.

TRACKH C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 I VI7 ( V of II)

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V ( V of II )



Example H



Linking Substitution - Example I

The A7 in measure eight can be proceeded by its II chord, Em or Em7 for a II V of II Secondary Dominant substitution.

I C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 C7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 I III VI7 ( II V of II )

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example I



Diminished Seventh Passing Chord - Example J

A common linking substitution is to use a diminished chord as a passing chord on beats three and four of measure six.

J C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I ( II V of II )

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example J



Diatonic / Chromatic Substitution - Example K

The measures proceeding the post chords are the measures where the most substitution occurs. Examples K, L M, and N will explore these possibilities.

K C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 F7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I IV III VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example K



Diatonic / Chromatic Substitution - Example L

L C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 Dm7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I II III VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example L



Diatonic / Chromatic Substitution - Example M

M C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 B7 Bb7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I VII7 bVII7 VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example M



Diatonic / Chromatic Substitution - Example N

N C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 B7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I VII7 III VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 bVI7 V



Example N



“Backdoor” Substitution - Example O

The “backdoor” substitution falls under the Minor Third Substitution principle. The “backdoor” substitution, a bVII7 (Bb7) substitute for the V (G7) chord and can proceeded by its II chord.

O C7 F7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II V of IV )

F7 F#o7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 VI7

Dm7 G7 Fm7 Bb7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V IVm7 bVII7 I7 VI7 II V Minor Third sub bVII7 for V with its added II Chord

This substitution can be found in many songs that comprise the standard Jazz repertoire such as: Valse Hot (m. 10), Ladybird (m. 3), How High the Moon (m. 28), Joy Spring (m. 4 & 12), Groovin’ High (m. 30), Four (m. 7), plus many more. Its a very common substitution for a V or II V. A linking substitute after a temporary modulation to a IV chord before returning to a I chord. Or as a free standing V or II V between two I chords.



Example O



Confirmation Changes - Example P

This example used a technique called Backcycling. A series of linking II V chords leading to the IV chord. This progression is called the “Confirmation Cycle” or sequence named after the Charlie Parker song of the same name.

P C7 Bm7b5 E7 Am7 D7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 VII III7 VI II7 ( II V of IV )

F7 F#o7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 VI7 ( V of II )

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V

The “Confirmation cycle” or backcycling sequence can be found in many songs. A few examples are Bluesette, There Will Never Be Another You and Blues for Alice.

An alternative notation for this could have been done using the double function notation of II V/I with the I serving a double function. As a I chord for the previous II V as well as a II.

C7 Bm7b5 E7 Am7 D7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 II V I/II V I/II V (Am: G: F:

Confirmation Cycle



Example P



Lewis Changes - Example Q

Named after John Lewis of the Modern Jazz Quartet these changes are some times called “Stormy Monday” changes.

Q C7 Bm7b5 E7 Am7 D7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 -----------------------------Confirmation Sequence ------------------------

F7 Cmaj7 Dm7 Em7 A7

| / / / / | / / / / | / / / / | / / / / | I/IV7 I II III VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V

Alternative Lewis Changes.

F7 Cmaj7 Dm7 Em7 Eb7

|| / / / / | / / / / | / / / / | / / / / | I7 I II III bIII7

Lewis Changes



Example Q



Coltrane Blues - Example R

John Coltrane’s music and compositions are a formative influence on all jazz musicians. The Coltrane composition Giant Steps and it’s use of a major third modulation sequence applied to a blues progression.

R Cmaj7* Eb7 Ab B7 E G7 C7

|| / / / / | / / / / | / / / / | / / / / | I (Ab: V I) (E: V I) (C: V I7)

F7 F#o7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 VI7

Dm7 * Eb7 Ab B7 E G7 C7 G7

| / / / / | / / / / | / / / / | / / / / || II (Ab: V I) (E: V I) (C: V I7) V

* The Coltrane Changes can start with either a I chord or a II chord.

Coltrane Cycle

Coltrane Cycle



Example R



The Tritone Substitution - Example S

The Tritone substitution is a Minor Third Substitution that creates chromatic root movement in progressions. Here the V chords are replaced with their tritone substitutes.

S C7 F7 C7 Gm7 Gb7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II bII of IV )

F7 F#o7 C7 Em7 Eb7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 ( II bII of II )

Dm7 Db7 C7 A7 Dm7 Db7

| / / / / | / / / / | / / / / | / / / / || II bII7 I7 VI7 ( II bII of IV )



Example S



The Tritone Substitution - Example T

An additional tritone substitution in measure eleven.

T C7 F7 C7 Gm7 Gb7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( II bII of IV )

F7 F#o7 C7 Em7 Eb7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 ( II bII of II )

Dm7 Db7 C7 Eb7 Dm7 Db7

| / / / / | / / / / | / / / / | / / / / || II bII7 I7 bIII7 ( II bII of IV )



Example T



The Tritone II V Substitution - Example U

Adding the II of the tritone substitute in measures four, eight and twelve.

U C7 F7 C7 Dbm7 Gb7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( tritone II V of IV )

F7 F#o7 C7 F7 Bbm7 Eb7

| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 IV7 ( tritone II V of II )

Dm7 Db7 C7 Eb7 Abm7 Db7

| / / / / | / / / / | / / / / | / / / / || II bII7 I7 bIII7 ( tritone II V of I )



Example U



The Tritone II V Substitution - Example V

Adding the II chord to the tritone bII substutition in measure nine.

V C7 F7 C7 Dbm7 Gb7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 ( tritone II V of IV )


| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 IV7 ( tritone II V of II )

Dm7 Abm7 Db7 C7 Eb7 Abm7 Db7

| / / / / | / / / / | / / / / | / / / / || II bVIm7 bII7 I7 bIII7 ( tritone II V of I ) ( tritone II V of I )



Example V



The Tritone II V Substitution - Example W

Adding the V chord back into measure nine.

W C7 F7 C7 Ab7 Dbm7 Gb7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 I7 bIV7 ( tritone II V of IV )


| / / / / | / / / / | / / / / | / / / / | IV7 #IVo7 I7 IV ( tritone II V of II )

Dm7 G7 Abm7 Db7 C7 Eb7 Abm7 Db7

| / / / / | / / / / | / / / / | / / / / || II V bVIM7 bII7 I7 bIII7 ( tritone II V of I ) ( tritone II V of I )



Example W



Backdoor bVII7 Substitution - Example X

Using example H from page 30 a “Backdoor” bVII7 chord replaces the IV chord in measure two.

X C7 Bb7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 bVII7 I7 ( II V of IV ) ( backdoor V of I )

F7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 I VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example X



Backdoor II V Substitution - Example Y

Here the II chord of the “Backdoor” bVII7 chord that replaced the IV chord in measure two is added.

Y C7 Fm7 Bb7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IVm7 bVII7 I7 ( II V of IV ) ( backdoor II V of I )

F7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 I VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example Y



Backdoor II V with Tritone Substitution - Example Z

Here the II chord of the “Backdoor” bVII7 chord that replaced the IV chord in measure two has it’s tritone substitution applied.

Z C7 Fm7 E7 C7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | I7 IV7 III7 I7 ( II V of IV ) ( backdoor tritone II V of I )

F7 C7 A7

| / / / / | / / / / | / / / / | / / / / | IV7 I VI7

Dm7 G7 C7 A7 Dm7 G7

| / / / / | / / / / | / / / / | / / / / || II V I7 VI7 II V



Example Z



TitleRhythm Changes

Another chord progression that is very common, the basis for countless songs and could fill a book of its own, is the chord progression from the George Gershwin song I Got Rhythm. Commonly referred to as Rhythm Changes. Here is an example of those chord changes in the most common key of Bb.

Here are a few of the songs based on the chord progression to I Got Rhythm.

Anthropology Dexerity Flyin Home Jumpin’ At The Woodside Lester Leaps In The Flinstone’s Theme Move Oleo Salt Peanuts Seven Come Eleven Tuxedo Junction

and more...

Notice a lot of the chord shapes that were used in the examples for the blues progressions in the previous chapter are used here. Some are the same and others are the same voicing or shape in a different key.

Like the blues progressions there are a lot of possibilities with this progression.


71A Guide to Blues Chord Progressions for Ukulele 70 A Guide to Blues Chord Progressions for Ukulele 71A Guide to Blues Chord Progressions for Ukulele 70 A Guide to Blues Chord Progressions for Ukulele

Rhythm Changes - Basic

The Rhythm Changes chord progression form is an AABA form, a 32 measure song form.

A Bbmaj7 Gm7 Cm7 F7 Bbmaj7 Gm7 Cm7 F7

|| / / / / | / / / / | / / / / | / / / / | I VI II V I VI II V 1)---------------------------------------------------------------------

Bbmaj7 Bb7 Ebmaj7 Ebm6 Cm7 F7 Bbmaj7 F7

| / / / / | / / / / | / / / / | / / / / :|| I I7 IV IVm6 II V I V

2)---------------------------------------------------------------------

Bbmaj7 F7 Bbmaj7 B D7

| / / / / | / / / / || / / / / | / / / / || II V I III7

G7 C7

|| / / / / | / / / / | / / / / | / / / / | VI7 II7

F7 A Bbmaj7 Gm7 Cm7 F7

|| / / / / | / / / / || / / / / | / / / / | V I VI II V

Bbmaj7 Gm7 Cm7 F7 Bbmaj7 Bb7 Ebmaj7 Ebm6

|| / / / / | / / / / | / / / / | / / / / | I VI II V I I7 IV IVm6

Bbmaj7 F7 Bbmaj7

|| / / / / | / / / / || I V I

71A Guide to Blues Chord Progressions for Ukulele 70 A Guide to Blues Chord Progressions for Ukulele



Rhythm Changes


73A Guide to Blues Chord Progressions for Ukulele 72 A Guide to Blues Chord Progressions for Ukulele 73A Guide to Blues Chord Progressions for Ukulele 72 A Guide to Blues Chord Progressions for Ukulele

Rhythm Changes - Jazz Variation

A common jazz variation.

A Bbmaj7 Bdim7 Cm7 C#dim7 Dm7 G7 Cm7 F7

|| / / / / | / / / / | / / / / | / / / / | I I°7 II #II°7 III VI7 II V 1)---------------------------------------------------------------------

Bbmaj7 Bb7 Ebmaj7 Ebm6 Dm7 G7 Cm7 F7

| / / / / | / / / / | / / / / | / / / / :|| I I7 IV IVm6 III VI7 II V

2)---------------------------------------------------------------------

Bbmaj7 F7 Bbmaj7 B Am7 D7

| / / / / | / / / / || / / / / | / / / / || I V I ( II of D7 ) III7

Dm7 G7 Gm7 C7

|| / / / / | / / / / | / / / / | / / / / | ( II of G7 ) VI7 ( II of C7 ) II7

Cm7 F7 A Bbmaj7 Bdim7 Cm7 C#dim7

|| / / / / | / / / / || / / / / | / / / / | ( II of F7 ) V I I°7 II #II°7

Dm7 G7 Cm7 F7 Bbmaj7 Bb7 Ebmaj7 Ebm6

|| / / / / | / / / / | / / / / | / / / / | III VI7 II V I I7 IV IVm6

Bbmaj7 F7 Bbmaj7

|| / / / / | / / / / || I V I




Jazz Variation



Rhythm Changes

The same principles of chord substitution used for the blues progressions in this book and the Rhythm Changes can be applied to any chord progression or song.



How to Practice Chord Progressions

Bb7

(1)

C7

(3)

D7

(5)

Suggested Reading:

• Advanced Guide to Ukulele Chords Vol I by Curt Sheller

• Advanced Guide to Chord Progressions for Ukulele Vol I by Curt Sheller

• Harmonic Analysis for Scale Selection and Chord Substutition by Curt Sheller



In Written Key

a) Use the principles of voice leading (see the my book The Advanced Guide to Ukulele Chords Vol I and The Advanced Guide to Chords Progression for Ukulele Vol I).

b) Work out four solutions for each chord.

In Transposed Key

a) All chord progressions can be transposed to any key.

b) In order to transpose a progression you must transpose each individual chord by the same distance, in the same direction.

c) Following the Transposition Chart below, experiment with any progression in any key.

Transposition ChartAscending KeysBA#, BbAG#, AbGF#, GbFED#, EbDC#, DbC

Descending KeysCBBb, A#AAb, G#GGb, F#FEEb, D#DDb, C#

How To Practice Chord Progressions



How to Use the Transposition Chart

a) Pick a progression.

b) Find its key on either chart.

c) To transpose upward, use the left (ascending keys) chart.

To transpose downward, use the right (descending keys) chart.

d) Each new key is 1 fret above or below the original key.

e) Don’t forget to transpose each chord of a progression.

f) Remember that the chord type remains the same for each chord. Example: m7 stays m7, 7 stays 7, etc...

ExamplesIf you are in the key of F and move all notes of the chord up 4 frets, you are now the key of A.

2 3 1 4

F7 3 b7 R 5

2 3 1 4

A7 3 b7 R 5

(5)(1)

If you are in the key of E and move all notes of the chord up 3 frets, you are now in the key of G.

How To Practice Chord Progressions



Descending*

C

1

2

3

4

5

6

7

8

9

10

11

12 11 10 9 8 7 6 5 4 3 2 1 C

10 9 8 7 6 5 4 3 2 1 C#

9 8 7 6 5 4 3 2 1 D

8 7 6 5 4 3 2 1 D#

7 6 5 4 3 2 1 E

6 5 4 3 2 1 F

5 4 3 2 1 F#

4 3 2 1 G

3 2 1 G#

2 1 A

1 A#

B

C

C

C# 1

D 1 2

D# 1 2 3

E 1 2 3 4

F 1 2 3 4 5

F# 1 2 3 4 5 6

G 1 2 3 4 5 6 7

G# 1 2 3 8 5 6 7 8

A 1 2 3 7 5 6 7 8 9

A# 1 2 3 4 5 6 7 8 9 10

B 1 2 3 4 5 6 7 8 9 10 11

1 2 3 4 5 6 7 8 9 10 11 12

Ascending*

* Ascending and descending are used as musical terms referring to note pitched sound relative to the current pitch, higher (ascending-up) or lower (descending-down).

Here is a graph of the number of frets to move for any transposition.

C123456789

101112 11 10 9 8 7 6 5 4 3 2 1 C

10 9 8 7 6 5 4 3 2 1 C#

9 8 7 6 5 4 3 2 1 D

8 7 6 5 4 3 2 1 D#

7 6 5 4 3 2 1 E

6 5 4 3 2 1 F

5 4 3 2 1 F#4 3 2 1 G

3 2 1 G#

2 1 A

1 A#

B

Exam

ple

Enharmonic Equivelents

A# equals Bb

G# equals Ab

F# equals Gb

D# equals Eb

C# equals Db

A to D is 7 frets

Descending*

Desc

endi

ng

Ascending

Graphic Transposition Chart



Conclusion

A blues progression can be as simple as a I IV V basic twelve measure progression to a complex jazz arrangement with substitution, upper partials, alterations and more...

For a blues progression to remain a blues progression it needs a I, IV and V chord in the post positions.

This book focuses mainly on the major blues progression in the key of C and only briefly touched the blues progression in a minor key. Other substitutions and keys are possible and should be explored. The principles used to create the substitutions can be applied to other progressions and keys - not just a blues progression.


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