Bb Blues Guidetone Exercise

Selections from Bebop & Swing Guitar

Swing Emily Remler

    
Bb7 Eb 9 Bb 7 Fm7 3
Bb 7
          
               



6 7 6 6 7 7 8 5 6 7
8 6 8 8 6 8 8 6 8 8
8 8 8

                           
Eb 9 D #7 Bb 7 A7 #5 A b 13 G7 #5
5

    
   


6 6 6 6 4 4
6 8 6 6 6 8 6 6 7 7 6 6 5 5 4 4
8 8 8 8 6 6

Cm7 F9 Bb 7 G7 b9 Cm7

 
F7 b9
9 3
  3

                            


6 9
2 3 3 2 3 4 5 3 2 3 2 7 5
5 5 5 3 6 6 8 9 8 5 8 7
6 3 6 8

       
Bb 7 Eb 9 Fm7
Bb7
Bb 7
13

                
      



6
3 1 2
3 3 2 3 3 6 7 8 5 6 7 7
5 6 8 8 6 8
8 8

Eb 9

                     
Eb 9 Bb 7 A7 #5
 
       
17


8 9 8 6 8 8 9 8 6 8
6 9 6 9 6 6
6 8 6 8 7 7 6 6 6
2
Bb 7

           
A b 13 G7 #5 Cm7 F9 F7 b9 G7 b9
       
20

      
 
         
3 3


4 4 6 9 7 6 6 9
5 5 5 5 4 4 4 4 2 3 3 5 8 8 7
5 5 7 6 6 8 9
6 3 6 8

Cm7 F7 b9 Bb 7 Eb 9 Bb 7 Fm7 Bb7 #5


  
24
         
       
  


10 10 9 9 10 10 11 10
7 6
8 7 7 6 6 7 7 8 7
8 5 8 5 7

Eb 9 Eb 9 Bb 7

       
29
  
3 3

              
 


6
6 6 6 7 8 7
8 6 8 8 8 6 8 8 8
8 8 8 6 0 5

Cm7 F9 F7 b9

   
          
33
 
   
3
3


6 10 11 10
6 8 11
7 7 8 10 9 8 10
5 8
6

Bb 7 Eb 9 Ab 7 Db 9 Bb 7

   
35

             
   


6 7
8 6 8 8
8 7 7 6 6
9 9 6 0 4 6
allthingsemily.com
 3


Chord diagrams for Bb Blues
38

 


Bb7 Eb9 D#7 Fm7 A7 #5
6fr 5fr 4fr 8fr 5fr

Ab13 G7 #5 Cm7 F9 G7 b9
4fr 4fr 8fr 7fr 9fr

F7 b9 Bb7 #5 Ab 7 Db9
7fr 6fr 4fr

The diagrams above represent a few chord choices that can be used for this study. There are many alternate
chords that can be substitued and other fret positions or inversions, than can be applied over this melody.
The simplist approach would be to have only 7ths in place of any 9ths ,13ths, b7ths, or #5s.
The comping arrangement is added to show what Emily implied with her melody notes,
and is not anything that she actually played for this particular exercise.