#1
I've learnt a majority of blues scales. I'm lookign for some chrods to back them up. What chords are blues chrods or what chords fit in nicely with blues scales. Thank you
#3
usin the 1st 4th n 5th notes from a scale are quite bluesy
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#4
Traditional theory doesn't explain blues very well .. but there is a single, commonly accepted set of three chord blues changes that has remained pretty unchanged over the years.

You can call them I IV and V and they're all dominant 7th chords.

So if you're playing in C (blues scale) your progression would be C7, F7 and G7.
#5
^To add to that.... you could always substitute the V7 for the 7#9 to add more tension, a la Hendrix and SRV.
#6
Yeah, there's actually a lot of subs you can make.

For blues I like using the Jazz form of the 7 chords for some reason....
You can get a lot of different blues sounds just by mixing up your 7 chord
forms.

EDIT: oh just to add this: my edg.dmusic.com site has a simple A blues progression
(I-IV-V) you can use for a backing track if you want.
#7
I would also like to add, that for any 7th you can substitute a dominant 9th, 11th, 13th. They have added scale tones but still serve the same function. 11th and 13th chords are a little busy sounding and might not be what your looking for, but I think 9th chords sound quite nice.
#8
Usually in Blues you avoid having smooth intervals, ie 3rds and 6ths. Similarly you might want to avoid 5ths and 4ths, as they have a plaintative tonality which doesnt convey much emotion.

My favorite one is the augmented 4th or diminished 5th which when combined with 7ths and 9ths can produce a very good sounding, if seemingly unpleasant, tone.

Another example is the augmented triad, which is made up like this: 1 3 5#.

With this grounding of using a diminished or an augmented triad to base a chord upon we can extend it further. By adding a m7 or a 9 I think you get a quite nice chord.

There are other examples of the diminished 5th interval arises, such as the maj/m chord which is: 1 3b 5 7. This also works quite well.

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