Exploring Underrated Chord Substitutions and Advanced Techniques in Blues Progressions

Introduction to Chord Substitutions in Blues

The I-IV-V blues progression is one of the fundamental building blocks in the world of blues. Often, musicians rely on simple substitutions to spice up their playing. Here we explore some underrated chord substitutions that can add depth to your playing without complicating the structure too much.

Underrated Substitutions

One of the simplest and most effective substitutions involves using different seventh chords like 9ths and 13ths. For instance, instead of the typical seventh chord, you can use:

V7 (A7) Substitute with A7(9) or A7(13)

Altered sevenths such as 7(b9), 7(b5), or 7(b9, b5) can also add a unique flavor. Try these over the V7 chord to give your blues a modern twist.

Chromatic approaches can also yield fascinating results. By approaching the main chords from a minor second above or below (e.g., Ab7 to A7, Eb7 to D7), you can introduce subtle variations that align with the pentatonic scale. This approach can add a layer of complexity that keeps the music engaging.

Chromatic Melody Lines and Advanced Techniques

In addition to chord substitutions, exploring chromatic melody lines can significantly enhance your playing. These lines often bring a sense of urgency and sophistication to your solos. Here's how some of these lines work:

The Thrill Is Gone

B.B. King's hit "The Thrill Is Gone" offers a great example of a chromatic melody line. Although it uses a standard blues progression in B minor, the key to its success lies in the chromatic shifts within the progression:

Bm - Bm7 - Bm - Bm7 - Em - Em7 - Bm - Bm7 - G - F7 - Bm - Bm7

Notably, the turnaround at the seventh bar introduces an unexpected G major chord, deviating from the expected F7. This chromatic shift adds a sense of surprise and keeps the listener engaged.

In Roman numeral form, this progression looks like:

vi - I7 - vi - I7 - iv - iv7 - vi - I7 - IV - III7 - vi - I7

The key to making these chromatic shifts work is to ensure that the progression still follows the blues framework, allowing the song to remain recognizable as blues despite the unexpected turns.

Stormy Monday

T-Bone Walker's "Stormy Monday" is another example of a song that deviates from the standard blues form. The progression follows a similar chromatic approach, introducing unexpected chords and maintaining a discernible blues feel:

G7 - C7 - G7→A7 - G7 - C7 - C7 - G→Am7 - Bm7→Bm7 - D7 - E7→D7 - G7→C7 - G7→D

Again, the use of chromatic melody lines adds a layer of complexity. The turnaround at the end uses an augmented dominant triad (E7), which adds an interesting twist. This chromatic approach keeps the listener on their toes while still adhering to the blues idiom.

Both "The Thrill Is Gone" and "Stormy Monday" highlight the importance of combining chromatic melody lines with the standard blues progression. This technique allows you to navigate within the familiar structure while introducing unexpected elements that can captivate your audience.

Conclusion

Understanding and mastering these chord substitutions and techniques can elevate your blues playing to new heights. By incorporating these advanced methods, you can create a richer, more dynamic sound that stays true to the essence of the blues while bringing something new to the table. Whether you're jazzing up your chord progressions or experimenting with chromatic melody lines, the key is to maintain the recognizable framework of the blues while adding your own unique touch.