#1
Here?s a little thing I saw around the internet, combined with some of the stuff I?ve experimented with. The progressions are all 12-bar, and I?ve seen most of them in jazz and blues. Each new example is increasingly complicated.

All are the key of ?E? (even the last one)? feel free to translate to whatever, just take note of the relationships!!!

|: E7 | E7 | E7 | E7 | A7 | A7 | E7 | E7 | B7 | A7 | E7 | E7 :|

|: E7 | A7 | E7 | E7 | A7 | A7 | E7 | E7 | B7 | A7 | E7 | B7 :|

|: E7 | A7 | E7 | E7 | A7 | A7 | E7 | C#7 | F#-7 | B7 | E7 | B7 :|

|: E7 | A7 | E7 | B-7 E7 | A7 | A#o| E7 | C#7 | F#-7 | B7 | E7 C#7 | F#-7 B7 :|

|: E7 | A7 | E7 | B-7 E7 | A7 | A-7 | G#-7 | C#7 | F#-7 | B7 | E7 C#7 | F#-7 B7 :|

|: E13 | A9 | E7 | E9 | A9 | A#o | E13 D#13 | D13 C#13 | F#-7 | B13 | E13 C#7#9 | F#13 B7#9 :|

|: Emaj7 | F#-7 Go | G#-7 | B-7 E7 | A7 | A-7 D9 | G#-7 | G-7 | F#-7 | B7 | E7 C#7 | F#-7 B7 :|

|: Emaj7 | D#-7b5 G#7 | C#-7 F#7 | B-7 E7 | Amaj7 | A-7 D9 | Gmaj7 | G-7 C9 | F#-7 | F#-11 F7b5 | E7 C#7#9 | F#-7 B7b9 :|

|: Emaj7 | D#-7b5 G#7#5 | C#-7 F#13 | B-7 E13 | A13 | A-7 | G#-7 | G-7 | F#-7 | B9 | Emaj7 Gmaj7 | Cmaj7 B7#9 :|

|: Fm7 Bb7 | D#-7 G#7 | C#-7 F#7 | Bm7 E7/A# | A7 | Am7 D9 | Gmaj7 | G-7 C9 | Fmaj7 | F#-7 B7 | Emaj7 G13 | F#13 F13 :|



for a little key, here?s some of the explantion for the notation in case some of you havent seen it much or at all? (?x? stands for the arbitrary root note)

x7 = 1 3 5 b7 (dominant)
x-7 = 1 b3 5 b7 (minor seven)
xo = 1 b3 b5 bb7 (fully diminished)
x9 = 1 3 5 b7 9 (dominant nine)
x13 = same as ?x7?, only with extension to 13 (9 or 11 are optional tones)
x7#9 = 1 3 5 b7 #9 (alt chord, Hendrix style )
xmaj7 = 1 3 5 7
x-7m5 = 1 b3 b5 b7 (minor seven flat five, or half diminished)
x-11 = 1 b3 5 b7 11 (9 is optional)
x7b5 = 1 3 b5 b7
x7b9 = 1 3 5 b7 b9 (alt chord)
x7#5 = 1 3 #5 b7 (alt chord)

Take a little time and see how I got this? some of them come from tricky tritone subs (classic stuff happening in the later patterns) or tritone subs of entire groups of chords. Either learn this by finding each chord?s relationship to the root, or by going the ?real? way and finding the tritone sub it was made out of.

Red
Looking for my India/Django.
#2
*Looks at it and stares*

I'm burned out by just looking at it...
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
#3
Maybe I'll understand this later, but looks cool. Tons of variations on the 12-bar, I've only played the first 3 or 4. This could be very helpful, thanks.
It's not the fear of what's beyond
It's just that I might not respond
#4
I wouldnt say Ealt when looking at a E7#9 chord. I would say "E seven, sharp nine.", lke it says.

but this looks pretty cool... I'll be back to look at this more!