12 Bar Blues Revisited, pt. V – Applying Dominant 7th Chords

In last months post I covered playing a 12 bar blues in different keys, but this we'll turn all three chords in the key to dominant 7th chords. Usually you will only find a dominant 7th chord in a major chord and that is on the V chord.

A dominant 7th chord is one that is made using a 1 3 5 b7. For example, in the key of C the V chord is a G and making it a dominant 7th would yield the following notes: G B D F. When we see it written as a chord symbol it would be G7; hence, if we say play "G seven" we really mean G dominant 7th.

Of course a 12 bar blues does not always contain all dominant 7th chords, but applying them in this manner helps give our blues a bit more flavor and it will also help our students to expand their chord vocabulary. 

I have attached a sample 12 bar blues in the of A - the choice of this key is purposeful as it will help students utilize open position dominant 7th chords which only use two and three finger chords. Try having your students try other keys that use all open position dominant 7th chords such as G, D and E. 

12 Bar Blues Revisited, pt. IV – Playing in Different Keys

In last month’s post I discussed harmonizing major scales and where the I, IV and V chords are located in each key. This month we’ll continue the discussion and begin to have students apply their new found knowledge.

I have outlined a basic 12 bar blues using I, IV and V and chords. Using this formula students can then “plug-in” the chords from the corresponding key they wish to practice - I have given an example in the key of G.

In order to increase a student’s chord vocabulary they should practice all the open chords (I, IV, V’s) they know in each key and apply them to the 12 bar blues formula. This way students are developing their ear to hear the I, IV, V progression, expanding their knowledge of chords and cementing the 12 bar blues pattern in their mind.

12 Bar Blues Revisited, pt. III - Basic Harmonization

Back in October I revisited the 12 bar blues by adding open major and dominant 7th chords as a way to expand our student’s chord vocabulary. This month we'll continue to expand chord vocabulary by dipping into basic harmonization of the major scale.

At this point in a student’s development it is important for them to learn and understand how chords work in a key; in particularly the I, IV and V. Moreover, by playing in these different keys students will learn to “hear” the I, IV and V chord progression, expand their chord vocabulary and develop a working knowledge of various keys.

Generally, I do not outline all diatonic harmony (major, minor, diminished) but only the I, IV and V chords as they specifically pertain to our topic of the 12 bar blues; no need to muddy the waters (pun intended) with more information than students need at this time. I have attached an outline of chords from scales, however it would be best to have the students outline these themselves.

Next month we’ll get into incorporating the newly learned I, IV, V’s into a 12 bar blues.