Blues and Secondary Dominant II-V Substitutions

The chords in a blues progression can be replaced with secondary dominants. Secondary dominants can then be replaced with II-V substitutions. For example, in a C blues the tonic chord Cmaj can be replaced with the dominant chord C7. C7 is the V chord or dominant chord in the key of F, designated V/IV. The C7 chord can then be replaced with II-V diatonic substitutions in the key of F.

Blues Progression Phrase One

Secondary Dominant II-V Substitutions in F Major

All of the chords are diatonic in the key of F and can be used as substitutios for the tonic chord Cmaj in a C blues progression.

Blues Progression Phrase Two

In the second four measures the subdominant chord Fmaj is replaced with F7, the dominant chord in the the key of Bb major. The F7 chord can then be replaced with Amin7b5, Cmin7 or Ebmaj7 from the key of Bb major.

Secondary Dominant II-V Substitutions in Bb Major

Blues Progression Phrase Three

The third four measure phrase uses two measures of the dominant chord G7 that can be replaced with its diatonic II-V substitutions Bmin7b5, Dmin7 or Fmaj7 from the original key C major. However any dominant chord in a major key can be replaced with secondary dominant II-V substitutions borrowed from its Parallel Minor key. For example the dominant chord in C major G7, can be replaced with Bdim7, Dmin7b5, Fmin7 or Abmaj7 from the key of C harmonic minor. This principal applies to the secondary dominants above.

Secondary Dominant II-V Substitutions in C Major

Secondary Dominant II-V Substitutions in C Minor

Remember, the goal is memorization. Not only will your fingers memorize the positions of the Secondary Dominant II-V Substitutions for Blues Progressions, your ears will also memorize the sounds on the guitar called Ear Training, so make sure your guitar is in tune. You can tune your guitar by ear to the midi player by clicking the tune logo or tune by eye using an electronic guitar tuner. It is recommended that you learn both methods.