Jazz chord progressions
Jazz is often played with a 12-bar structure, as in blues, although the 32-bar structure is very common. Presented here are some common blues jazz progressions, mostly in the form of 12 bar. Each 12-bar progression is presented in one key, but an advice is to practice them in various keys. The most common keys in jazz in general are Eb, Bb, F, Ab and Db. Most compositions are written in flatten keys since they are suitable for horns.
You are advice to used suitable jazz chords instead of regular chords for all presented examples. Also, the seventh chords could be replaced with other extended chords like (maj/min/dom) 9th and 13th as well as altered chords.
Common jazz progressions
ii - V - I
The ii - V - I is the first jazz progression to learn. The Roman numerals could for example be translated to Dm7 - G7 - Cmaj7.
See Jazz progression lesson series part 1 for diagrams and jam track.
A way to play Dm7 - G7 - Cmaj7 with jazz chords and economical movements:
Dm7: X5756X - G7: XX5767 - Cmaj7: X3545X
The ii - V - I progression in another key could be Gm7 - C7 - Fmaj7, with suggestion of chords:
Gm7: 3X333X - C7: X3231X - Fmaj7: 1X221X
The ii - V - I progression doesn't have to consist of seventh chords only. Here's an example including the dominant 13th: Fm7 - Bb13 - Ebmaj7.
Learn from video with jam track
The 2 - 5 - 1 progression can be modulated
into a new 2-5-1 in an other key. This can de bone over and over and built chain changes. This can be much more interested than to stop and repeat the same chord order over and over. This is how it can be done:
Dm7 (ii) - G7 (V) - Cmaj7 (I) - Cm7 (ii) - F7 (V) - Bbmaj7 (I).
The modulation occurs when Cmaj7 changes to Cm7. But this method you can expand the ii - V - I from three to six chords. And you can you on. To the progression abov you could add Bbm7 (ii) - Eb7 (V) - Abmaj7 (I).
See Jazz play-along for training.
The ii - V - I can be expanded with another chord into ii - V - I - vi, or ii - V - I - VI. The Roman numerals could for example be translated to Dm7 - G7 - Cmaj7 - Am7 or Bm7 - E7 - Amaj7 - F#7.
I - vi - ii - V
The I - vi - ii - V (turn back progression) is another frequently used progression in the genre. The Roman numerals could for example be translated to Cmaj7 - Am7 - Dm7 - G7. It's also referred as the I - vi - ii - V - I progression since it normally leads back to a new section what starts with the I chord.
In another key, the I - vi - ii - V progression could be Fmaj7 - Dm7 - Gm7 - C7, with suggestion of chords: Fmaj7: XX3555 - Dm7: X5756X - Gm7: 3X333X - C7: X3231X.
See Jazz progression lesson series part 6 for diagrams and jam track.
3 - 6 - 2 - 5 (iii - VI - ii - V)
The turn back progression is also referred to as I - VI - ii - V (with a dominant VI chord). One exemple: Am7 - D7 - Gm7 - C7.
This progression can be expanded by modulation: Am7 - D7 - Gm7 - C7 - Cm7 - F7 - Bbm7 - Eb7 - Abmaj7.
12 bar jazz-blues progressions
How to read the tables
These tables present the structure in 12 bars that you should read from measure 1 to 12 as seen in the following scheme:
| 1 | 2 | 3 | 4 |
| 5 | 6 | 7 | 8 |
| 9 | 10 | 11 | 12 |
Basic 12 bar form progression in G
This is a basic progression with a 12-bar structure.
| G7 | C7 | G7 | G7 |
| C7 | C7 | G7 | G7 |
| Am7 | D7 | G7 | G7 |
As already said, you have the option to use substitutions. Dominant 7th chord can be replaced by extended chords such as 9th, 11th and 13th chords.
12 bar progression in G
This is another of the most common 12-bar structures in the jazz blues style, (only the eight bar differ from the previous).
| G7 | C7 | G7 | G7 |
| C7 | C7 | G7 | E7 |
| Am7 | D7 | G7 | G7 |
12 bar progression in G with more changes
To the 12-bar progressions above, additional chords and some shorter changes could be added.
| G7 | C7 | G7 | G7 |
| C7 | C7 | G7 | Bm7 / E7 / |
| Am7 | D7 | G7 | Am7 / G7 |
12 bar progression in A
Same as "12 bar progression in G" above, but in another key, and with a turnaround on the two last measures.
| A7 | D7 | A7 | A7 |
| D7 | D7 | A7 | F#7 |
| Bm7 | E7 | A7 F#7 | Bm7 E7 |
Jazz-blues progression with substitutions
The same 12 bar as above with substitutions.
| A13 | D9 | A13 | A13 |
| D9 | D9 | A13 | F#9 |
| Bm11 | E9 | A7 F#7 | Bm7 E7 |
A second 12-bar with substitutions.
| A13 | D9 | A13 | Eb9 |
| D9 | D9 | A13 | F#13 |
| Am7 Bm7 | E7(#9) | A13 F#7(#) B13 | E7(#9) |
Jazz-blues progression with chromatic substitutions
Here is a progression with some chromatic ideas.
| A7 | Ab7 | A7 | Eb7 |
| D7 | Ab7 | A7 | F#7 |
| Bm7 | E7 | A7 F#7 | Bm7 E7 |
Minor 12 bar progression
Here is a suggestion of a basic minor jazz progression.
| Gm7 | Gm7 | Gm7 | Gm7 |
| Cm7 | Cm7 | Gm7 | Gm7 |
| A7 | Ab7 | Gm7 | Gm7 |
A second basic minor 12 Bar progression
Here is another easy minor jazz progression, quite similar with the previous.
| Am7 | Am7 | Am7 | Am7 |
| Dm7 | Dm7 | Am7 | Am7 |
| Bm7b5 | E7 | Am7 | Am7 |
The Bm7b5 chord with short notation: 7X776X.
A third minor progression
Here is a variation on the above 12 bar, including a turnaround.
| Am7 | E7 | Am7 | A7 |
| Dm7 | Dm7 | Am7 | Am7 |
| Bm7b5 | E7 | Am7 | Bm7b5 E7 |
Some of the progression presented here were listed in the book Blues Guitar Rules in which you can find more on the same subject. For learning famous jazz tunes, you should search for so-called Fake books.
See also The Jazz Guitar Chords ebook over 75 chord progressions including fingerings.
Go back to main section of Jazz guitar.
8 bar jazz blues progressions
How to read the tables
These tables present the structure in 8 bars in the same fashion as the 12 bar above:
| 1 | 2 | 3 | 4 |
| 5 | 6 | 7 | 8 |
8 bar progression in F
This is one example of a 8 bar jazz progression.
| Fmaj7 | Bbmaj7 | Em7b5 | Am7 |
| Dm7 | Gm7 | C7 | Fmaj7 |
8 bar progression in G
The same progression transposed to G major.
| Gmaj7 | Cmaj7 | F#m7b5 | Bm7 |
| Em7 | Am7 | D7 | Gmaj7 |
8 bar progression in Bb
Another progression but this time with mostly dominant chords./p>
| Bb7 | Eb7 | Bb7 | Cm7 |
| F7 | Eb7 | Bb7 | F7 |
F7 in last bar is a turnaround and can be replaced with Bb7 in last chorus. An alternative turnaround is G7 - Cm7 - F7 - Bb7.
8 bar progression (Autumn leaves)
This progression is from the famous "Autumn Leaves" tune.
| Gm | Cm | F7 | Bb |
| Eb | Am7b5 | D7 | Gm |
24 bar jazz progressions
24 bar progression in Bb
This is one of the most standard progressions of 24 bar jazz.
| Bb7 | Bb7 | Bb7 | Bb7 |
| Eb7 | Eb7 | Bb7 | Bb7 |
| F7 | Eb7 | Bb7 | Bb7 |
| Bb7 | Bb7 | Bb7 | Bb7 |
| Eb7 | Eb7 | Bb7 | Bb7 |
| F7 | Eb7 | Bb7 | Bb7 |
Notice how the 13-24 measures repeats the 1-12 measures. You should strive for variation. For example, you can play Bb7 in the first twelve measures and when Bb13 in the next twelve.
32 bar jazz progressions
32 bar progression in Gm
This is a progression of 32 bars based on the jazz tune "Autumn Leaves".
| Cm7 | F9 | Bbmaj7 | Ebmaj9 |
| Am7b5 | D7 | Gm7 | Gm7 |
| Cm7 | F9 | Bbmaj7 | Ebmaj9 |
| Am7b5 | D7 | Gm7 | Gm7 |
| Am7b5 | D7 | Gm7 | Gm7 |
| Cm7 | F9 | Bbmaj7 | Bbmaj7 |
| Am7b5 | D7b9 | Gm7 | Fm7 |
| Ebmaj7 | D7b9 | Gm7 | Gm7 |
Notice how the 1-8 measures to a high degree repeats throughout the tune.
With an intro turnaround
A turnaround can also be used as an intro, preceding the first chord.
Turnaround
A way to play this as an intro in the key of C is:
Cmaj7 (two bars) - Dm7 - G7 (leading to C)
Turnaround with tritone substitution
A way to play this as an intro in the key of C is:
Cmaj7 (two bars) - Abmaj7 - Dbmaj7 (leading to C)
Turnaround in Minor key
A way to play this as an intro in the key of Dm is:
Dm7 (two bars) - Em7b5 - A7 (leading to Dm)
Coltrane Turnaround
A way to play this as an intro in the key of C is:
Cmaj7 - Ebmaj7 - Abmaj7 - Dbmaj7 (leading to C)
Ragtime Turnaround
A way to play this as an intro in the key of C is:
C - A7 - D7 - G7 (leading to C)
This exposition of introduction turnarounds in jazz follows the terminology used in Chord progressions for Songwriters by Richard J. Scott.
About swing fell and strumming
In jazz, the back beats are accented. In a bar with four quarter-notes played in 4/4 time is will look like this: 1 2 3 4 (bold marks accent). The accent creates the swing feel that is central in jazz. The emphasis should be carried out in a subtle way. A tip is to use a light plectrum for chord strumming.
