Chord Substitutions On An 8 Bar Blues

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Adding Syncopation To An Eight Bar Blues:
• Adding Syncopation to ...
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[@timhostetler5458]

This has to be one of the best ones yet. Thanks, David!

[@Usksider]

I've always liked the 8 bar blues and really appreciate your approach. This is a great lesson; well done!

[@markrichardson6629]

Superb David, thanks.

[@37Gibson]

So helpful and lucid. Thank you!

[@richardmaniscalco1068]

Always learn something interesting and cool.

[@karlwalker6648]

Brilliant as usual, thanks ❤

[@GuitarguyRichard56]

This is so fun. thanks so Much

[@hubertChannel]

Hi David,
the first thought that striking me is :
E7, in that form of shell, is both the IV7 and the ii (b-6),
first inversion of A seem's like the iii (c#6),
and D6 is like first inversion of a B (that I don't know from which kind of parallel stuff we can consider it's extract...)
isn'it? partially? totally ?
Best regards
(sorry for bad english wroting ;-)
J

[@richardgullison9980]

Great lesson!! What year is the Martin? Sounds fantastic!

[@mdyerlrb]

1956 00-18

[@richardgullison9980]

Thanks!@@mdyerlrb

[@danherring5676]

So, you've done quite a bit more than the usual suspects when it comes to 8 bar. We're generally inundated in 12 bar, but not you. What is it about 8 bar that attracts you?

[@FretboardConfidential]

Well, as Horace Silver once said, "I like to be different" :-). I love 12 bar blues, but it's nice to mix it up. Eight bar blues tend to have really distinctive melodies, and slightly different chord progressions, so they make really really good tools for looking at phrasing and improvisation. Plus, they're cool tunes! Finally, there are zillions of 32 bar swing and jazz tunes, and those are almost all built out of 8-bar sections. So 8 bar blues are good practice for thinking that way, too.