Conference napalm::guitar

    
    Well, that's basically it, however there are some substitutions
    that can be made in this context (its very flexible).
    
    I like substituting III-7 for I when its going to IV and VI-7 for
    I when its going to V.  
    
    EX- E7 G#-7 A7   E7  C#-7 B7  E7  A7 D7  D#7 E7 A7 E7 A7 A#7 B7
    
        I  III-|IV  |I   IV- |V  V/IV|IV bVII VII|I IV |I IV #IV V
      
    Also, sub-five dominant chords are cool to the I, IV and V chords 
    (even sequential sub-five's work)
    
    E7  G#-7 Bb7  A7  D7   D#7  E7   F7 E7  B7 Bb7  A7
    
    I  III-7 SubV|IV7 bVII VII| I  subV|I   V7 subV| IV
    
    etc etc
    
    Buck

    I always understood that a "straight 12 bar" was something like;
    
    E E E E7 A A E E B7 A7 E B7
    
    or
    
    E A E E7 A A E E B7 A7 E B7
    
    or (the easiest one to remember)
    
    E E E E A A E E B A E B
    
    As a variation, there's always a 16-bar;
    
    E E E E A A E E B A E E B A E B
    
    Or an 8-bar;
    
    E E E E B A E B
    
    Or one I use a bit at jam sessions;
    
    E A E A E A F# B 
    E A E A E A F# B
    A A E E F# G(1/2 bar) F#(1/2 bar) E B
    
    Which, if my maths is correct, is 24 bars.
    
    Andy
    

    Yes, you're right to call it a progression, but the Blues has many
    progressions, just the same as there can be many different blues
    scales. The progression you mentioned requires the 'B' to be a 'B7',
    apart from that you've got it .
    The main thing that I find about the blues is to try something
    different to the progression. Experiment with different substitutions,
    introducing some 7th's, some lead riffs, bass riffs, etc. (all
    in-between playing 12 bar blues.)
    The blues only sounds at its best when you put some feeling into it - which
    is one reason for it surviving for so long.
    To get the feel for the blues, listen to the likes of John Lee Hooker,
    or Muddy Waters.
    The best method is to try one progression, and then see what else
    'feels good' if you see what I mean.
    Have fun.
                  Ian.
    

      By the way, I have tried I I I IV IV IV V V V I I I what do you
    think about it?

    
    My concept of a 12-bar blues (assuming 4/4 time signature):
    
    A    D    A         D         A         E    D    A
    |||| |||| |||| |||| |||| |||| |||| |||| |||| |||| |||| ||||
                                                              
    OR
    
    A    D9   A         D9        A    F#7  Bm   E    A      
    |||| |||| |||| |||| |||| |||| |||| |||| |||| |||| |||| ||||

    try substituting an A6 for an A chord using
    
    ___________               or      ___________ 
    |B|-|A|-|R|                       |T| | | |1|
    ----------- fret 5                ----------- fret 5
    | | |2| | |                       | | |2| | |
    -----------                       -----------
    | |3| |4| |                       | |3| |4| |
    ___________			      ___________
    
    where 1=index finger
    	  2=middle finger
    	  3=ring finger
    	  4=pinky
          T=thumb
    
    The 9th chord shown may be played using this:
    
    _____________ 
    | | |1| | | |
    ------------- 
    |M|2| |B|A|R|             
    ------------- fret 5
                        
    
    where M=muted string
    	  the top 3 strings have to be barred using the third (ring)
    	  finger.
    
    
    Now try playin it with "feelin"
    
    Mark
    
    

    re .5
    
    Your first two chord diagrams only have five strings (at least
    based on the way you did the 9th chord diagram).  Could you please
    fill in the missing string?

    /rick

    less is more!

    Or, if you want to be even more economical, you can leave off the
    note on the high E string too, so the highest note in each chord
    woold be the E on the second (B) string. Lots of jazzy blues players
    play with mostly 3 and 4-note chords. For example, try the following
    4-note A6-D9 progression:
                  X           X         X              X
    4th fret    -- --1-- -- --           -- --1-- -- --
               |  |  |  |  |  |         |  |  |  |  |  |
               2-- -- -- --3__           --2-- --3--4--
               |  |  |  |  |  |         |  |  |  |  |  |
                -- -- --4-- --           -- -- -- -- --                 
    String     E  A  D  G  B  E         E  A  D  G  B  E
    
    The strings with an X above them are either deadened or not played.
    THis stuff sounds great played fingerstyle, plucking all the notes
    in the chord at once like you are "comping".

    re last few
    
    yes, I understand that you don't need all six strings.  My point
    was that in the following chord diagrams:
    
    
    ___________               or      ___________ 
    |B|-|A|-|R|                       |T| | | |1|
    ----------- fret 5                ----------- fret 5
    | | |2| | |                       | | |2| | |
    -----------                       -----------
    | |3| |4| |                       | |3| |4| |
    ___________			      ___________
    
    it's ambiguous where to put my fingers.  Do I put my 2 finger on
    the D or the G string?  For someone like me, who is not that familiar
    with chord shapes, this is not obvious.  I only suggested that the
    sixth string be added for orientation.  Or am I missing something?
    
    /rick

    RE: .10/Mark's chord diagram for an A6...
    
    	If the second finger were on the G string, then wouldn't the
    chord Mark illustrated be a Dmaj7???
    
    	joe.

    I personally prefer 4 and three string voicings over the big ones...
    they tend to clutter and get in the way when you're playing with
    a keyboardist.  Less is more!
    
    Buck