The last 4 bars of a blues progression mostly are played like this:
V – IV – I –  V
After that you return to the beginning, to the I chord, making the whole progression :
V – IV – I – V – I

But jump blues can have some jazz elements. And in that  ‘swing’ style the chord progression is often altered to:
II – V – I – V – I

This change can be heard very clearly in the bass pattern. The bass will play the tonic of the II chord on the first beat of bar 9.

In a blues progression in G the last 4 bars normally are :
D7 – C7  – G7 – D7.
So in a more swing-type progression this would be altered to:
Am7 – D7 – G7 – D7.


This Am7 chord comes from the G mixolydian scale:
This is the scale we’ve been using on the I-chord.
Remember to move to the IV mixolydian and V mixolydian on the IV and V chord.

This swing-change comes from the fact that the strongest movement we know in our music is a V – I progression; a D to a G.
You can play this by putting your finger on the 5th fret, fifth string; go to the fifth fret, fourth string.

And we can add chords on top of that bass note.

We see  those type of progressions a lot in blues, for instance at the very end of a blues progression, going back to the beginning.

But the movement form a I chord to a IV chord can also be seen as a type of V – I, if you see the regular IV chord as a temporary I – chord.
The movement remains the same: go 1 string higher, remain in the same fret.
Going from the G on the third fret, sixth string to a C on the third fret, fourth string.

So V – I movement all around.
In jazz they loooove V-I’s because they can play around with the inner logic of those chord progressions.
They often anticipate a chord , by placing it’s V chord before it.


(Continued on Next Page)