We’ve seen that the V – I progression is the strongest chord progression in our music.
And by building on that, we can extend that chord progression by preceding the V chord with IT’S V chord: the V of V.
In the original key that comes down to being the II chord.

In the original key the II chord is always minor.
We’ve seen this in the key of G:
the II – V – I progression is Am7 – D7 – G.

But we can make that progression even stronger by turning that Am7 into an A7 chord.
Any V chord wants to resolve to any I chord, meaning:
an A wants to go to a D
an Am wants to go to a D
an Am wants to go to a Dm
an A7#9b13 wants to go to an Dm7
etc,etc,etc.

Some of these progressions sound stronger than others.
The more tension a V chord has the more it wants to resolve. And because we know that the A7 chord has a lot of tension (the tritone interval !) it reaaally wants to resolve to the D chord.

We can use this in our II – V – I progression.
Instead of using an Am7, we’re gonna use an A7 chord, making the progression
A7 – D7 – G7 or II7 – V7 – I .

103-Alternative-Blues-Endings-II7-V7-I

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Note that the chord we’re now using is NOT part of the G, D or C scales anymore:
we’ve modulated to a different key.
Although this is only during one chord, we have to play the scale that goes with the chord.
We’ve got to move with chord!

(Continued on the Next Page)

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