Blues chord progressions
Blues is often played with a 12-bar structure, so-called 12 Bar Blues. Here you will learn plenty of 12-bar blues progressions, from the most basic ones to more complex, in a variety of keys as well as both major and minor.
12 bar blues progressions
How to read the tables
These tables present the 12-bar structure in 12 bars that you read from measure 1 to measure 12 and with typically four beats per bar:
| 1 | 2 | 3 | 4 |
| 5 | 6 | 7 | 8 |
| 9 | 10 | 11 | 12 |
Standard 12 Bar Blues in E
This is one of the most common progressions.
| E7 | E7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 | E7 |
It isn't necessary to play E as a dominant chord, it's also possible to play regularly E major.
Learn from video
Standard 12 Bar Blues in C
This is the same as above, but in another key.
| C7 | C7 | C7 | C7 |
| F7 | F7 | C7 | C7 |
| G7 | F7 | C7 | C7 |
Learn from video: Link to video with diagrams and jam track
You could change to any key with Roman numerals as reference:
| I7 | I7 | I7 | I7 |
| IV7 | IV7 | I7 | I7 |
| V7 | IV7 | I7 | I7 |
The Roman numerals are I(7), IV(7) and V(7) and here is how you can transpose these to different keys:
Keys
E major: I7 = E7, IV = A7, V7 = B7A major: I7 = A7, IV = D7, V7 = E7
D major: I7 = D7, IV = G7, V7 = A7
C major: I7 = C7, IV = F7, V7 = G7
G major: I7 = G7, IV = C7, V7 = D7
Bb major: I7 = Bb7, IV = Eb7, V7 = F7
Try to listen to the chord changes so that you are able to know which chord it is if you hear someone else play. The IV chord shares tones with the I chord and is somewhat alike. The V chord sounds as if it want to resolve into another chord.
Variation of standard 12 Bar Blues in E
This progression, that is more or less as common as the standard, includes an early chord change (2nd bar) to create more variation.
| E7 | A7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 | E7 |
12 Bar Blues progressions with turnaround
A turnaround includes in general the two last bars or measures.
| 1 | 2 | 3 | 4 |
| 5 | 6 | 7 | 8 |
| 9 | 10 | turnaround | turnaround |
The turnaround could consist of chords (in it's simplest form, only the V chord) or a lick.
Standard 12 Bar Blues in E with turnaround
The two last bars are concerned by a so-called turnaround.
| E7 | E7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 | E7 B7 // |
The slash symbols indicated beats. In the twelfth bar E7 is played for one beat and when B7 the remaining three beats. You can use this turnaround concept on most examples presented on this page.
12 Bar Blues with 9th and an altered chords
Using an altered ninth as V chord chord gives a different color and substituting 9th for 7th chord giveds a funkier sound.
| A7 | D9 | A7 | A7 |
| D9 | D9 | A7 | A7 |
| E7(#9) | D9 | A7 | A7 |
The E7(#9) chord with short notation: X7678X. A7 is recommended to play as a barre chord. You could play D9 as X5455X and also involve D7(#9) as X5456X– a cool option is to use the sharped #9 as an embellishment note.
Variation of 12 Bar Blues in E with a fourth chord
So far we have only used three chords, but here is a fourth chord (ii7) is added in the ninth bar.
| E7 | A7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| F#m7 | B7 | E7 | E7 |
The F#m7 - B7 sequence is called a "2-5 Turnaround" (F# and B is the second and fifth degrees respectively in the E scale).
Variation of 12 Bar Blues in A with a fourth chord
As always, the same interval of chords could be used in another key.
| A7 | D7 | A7 | A7 |
| D7 | D7 | A7 | A7 |
| Bm7 | E7 | A7 | A7 |
12 Bar Blues with a secondary dominant
The jump to A7 in the 8th bar starts a 5th intervals trip back to the tonic, which in general works well with dominant chords.
| C7 | F7 | C7 | C7 |
| F7 | F7 | C7 | A7 |
| D7 | G7 | C7 | G7 |
12 Bar Blues with extended chords
Here, 9th and 13th chords are used, mostly, which create a jazz feeling as well.
| G13 | C9 | G13 | G13 |
| C9 | C9 | G13 | G13 |
| D9 | C9 | G13 | D7#9 |
Fingering suggestions with short notation: 3X345X (G13). Passing notes and chords (for example, Db9 in the D9 - C9 changes) can be used.
12 Bar Blues with tone substitution
Here, C7 is included as substituting A7 in one measure.
| E7 | A7 | E7 | E7 |
| A7 | C7 | E7 | E7 |
| B7 | A7 | E7 | E7 |
Notice the alternative C7b9 instead of C7, with the fingerings X3232X that will work very smoothly moving from A7 in open position.
12 Bar Blues with tritone substitution
Here, C seventh is included.
| E7 | A7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 F#m11 | C7 B11 |
C7 in the 12th bar is the tritone chord.
12 bar blues progressions in minor
Standard 12 Bar Blues in Em
This is one of the most standard progressions of blues in minor.
| Em | Em | Em | Em |
| Am | Am | Em | Em |
| B7 | Am | Em | Em |
You could also play B7 instead of Em in the last bar to create a turnaround. Another possibility is to play Em7 and Am7 instead of Em and Am.
Standard 12 Bar Blues in Am
The same as above, but in another key.
| Am | Am | Am | Am |
| Dm | Dm | Am | Am |
| E7 | Dm | Am | Am |
Learn from video: Link to video with diagrams and jam track
12 Bar Blues in Em with a fourth chord
Here is an alteration of the progression above with an extra chord that makes the progression some more complex. Notice also that the iv is played in the second bar, not mandatory though.
| Em | Am | Em | Em |
| Am | Am | Em | Em |
| C7 | B7 | Em | Em |
The C7-B7 sequence creates an interesting movement into the final Em chord. The C7-B7 sequence can also be utilized as a turnaround.
12 Bar Blues in Em with a chromatic chord sequence
This is a variation of the previous 12 Bar structure, but with an extended, chromatic sequence.
| Em | Am | Em | Em |
| Am | Am | Em | Em |
| C#9 | C9 | B9 | Em |
The C#9 chord with short notation: X4344X (use the same shape for C9 and B9).
12 Bar Blues in Dm
Progression for blues in D minor.
| Dm | Dm | Dm | Dm |
| Gm | Gm | Dm | Dm |
| C9 | Gm | Dm | Dm |
Jazz-blues
12 Bar Blues with a touch of jazz
The next example, uses an m7b5 chord, which makes the progressions sound more jazzy.
| Em7 | Em7 | Em7 | Em7 |
| Am7 | Am7 | Em7 | Em7 |
| F#m7b5 | B7 | Em7 | Em7 |
The F#m7b5 chord with short notation: 2X2210.
Learn from video: Link to video with diagrams and jam track
The same progression in A minor:
| Am7 | Am7 | Am7 | Am7 |
| Dm7 | Dm7 | Am7 | Am7 |
| Bm7b5 | E7 | Am7 | Am7 |
The Bm7b5 chord with short notation: X2323X.
12 Bar Blues with a touch of jazz, another example
This progression increases the complexity with more chords.
| C7 | F7 | C7 | Gm7 C7 |
| F7 | F#dim7 | C7 | Em7b5 A7 |
| Dm7 | G7 | C7 A7 | Dm7 G7 |
One possible fingering for F#dim7 is XX7878. The C minor pentatonic scale can be used to improvise over this 12-bar progression.
8 bar blues progressions
Standard 8 Bar Blues in E
This is one of the most standard progressions of 8 bar blues.
| E7 | E7 | A7 | A7 |
| E7 | B7 | E7 / A7 / | E7 / B7 / |
You could also try to play E before switching to E7 and the same concerning A and A7.
8 Bar Blues in G
A typical 8 bar blues progression in the key of G with a G7-D7 turnaround.
| G7 | D7 | C7 | C7 |
| G7 | D7 | G7 | D7 |
16 bar blues progressions
Standard 16 Bar Blues in E
This is one way to play a 16 bar blues, by simply extend the first section.
| E7 | E7 | E7 | E7 |
| E7 | E7 | E7 | E7 |
| A7 | A7 | E7 | E7 |
| B7 | A7 | E7 | E7 |
A variant is to play the V chord also in the 14th bar.
24 bar blues progressions
Standard 24 Bar Blues in E
This is one of the most standard progressions of 24 bar blues.
| E7 | E7 | E7 | E7 |
| E7 | E7 | E7 | E7 |
| A7 | A7 | A7 | A7 |
| E7 | E7 | E7 | E7 |
| B7 | B7 | A7 | A7 |
| E7 | E7 | E7 | E7 |
As you can see, the main difference is that the changes are extended. No new chords are added.
Go to next article in the course: Give your chords more blues feeling
Go back to the main section of Blues guitar.