All Blues
by Miles Davis
Difficulty Profile
Skill LevelOverall
IntermediateRhythm
IntermediateLead
AdvancedBass
AdvancedWhy "All Blues" Works Harmonically
Beyond standard guitar tabs and chord charts, discover the exact music theory mechanics, modal interchange, and voice leading choices that give Miles Davis's classic its unforgettable emotional power.
The Harmonic Architecture of G Mixolydian / G dominant with Mixolydian (Dominant 7th center) with blues inflections
The musical power of "All Blues" stems from the deliberate harmonic movement between G Mixolydian / G dominant and the I7 - I7 - I7 - I7 - IV7 - IV7 - I7 - I7 - V7#9 - bVI7#9 - V7#9 - I7 progression. A 12-bar blues variation in 6/4 time using dominant 7th chords throughout, with the distinctive chromatic turnaround using D7#9 to Eb7#9 and back
Harmonic Progression (Roman Numerals)
I7 - I7 - I7 - I7 - IV7 - IV7 - I7 - I7 - V7#9 - bVI7#9 - V7#9 - I7Step-by-Step Movement
- •G7 (I7) - Tonic dominant chord; the Mixolydian home base creates a suspended, floating quality
- •C7 (IV7) - Subdominant providing classic blues movement away from the tonic
- •D7#9 (V7#9) - Dominant chord with the Hendrix chord quality creating strong pull to resolve
- •Eb7#9 (bVI7#9) - Chromatic upper neighbor to D7#9, creating the signature half-step chromatic slide
- •The 6/4 time signature creates a waltz-like feel that distinguishes this from standard 4/4 blues
Voice Leading & Counterpoint
- ›The progression moves through G7 → G7 → G7 → G7 → C7 → C7 → G7 → G7 → D7#9 → Eb7#9 → D7#9 → G7, creating smooth root movement across the guitar fretboard.
- ›Tuning (Standard (EADGBE)) allows open-string resonance and dynamic chord extensions.
- ›The tempo of 138 BPM (6/4 time) gives each chord voicing time to breathe and establish its tonal identity.
Fretboard Mechanics
Played in Standard (EADGBE) with classic fretboard fingerings tailored to Jazz guitar playing. Focus on clean transitions between G7, G7, G7.
Study the I7 - I7 - I7 - I7 - IV7 - IV7 - I7 - I7 - V7#9 - bVI7#9 - V7#9 - I7 progression in G Mixolydian / G dominant. Notice how each chord change either builds or resolves tension without overcomplicating the underlying harmony.
Primary scale for the G7 chord sections; defines the tonal center with the flat 7th (F natural)
Improvisation over the 12-bar form, adding blue notes for authentic jazz-blues phrasing
Used over the IV7 chord (C7) sections for chord-scale alignment
Alternative improvisational color, blending minor and major qualities for jazz expression
The modal foundation of the key.
Primary chord shapes used.
Musical Analysis
🎹 Key & Tonality
⏱️ Song Structure
💡 Understanding G Mixolydian / G dominant:
G Mixolydian / G dominant has a darker, more introspective character. The Mixolydian (Dominant 7th center) with blues inflections mode creates tension and emotion. This key is perfect for expressing melancholy or aggressive themes in rock music.
Primary scale for the G7 chord sections; defines the tonal center with the flat 7th (F natural)
Improvisation over the 12-bar form, adding blue notes for authentic jazz-blues phrasing
Alternative improvisational color, blending minor and major qualities for jazz expression
The harmonic character shaping G Mixolydian / G dominant
The harmonic character shaping G Mixolydian / G dominant
Understand major chord construction and voicings
Primary Chords Used
Scale Patterns in G Mixolydian / G dominant
G Mixolydian
Notes: G - A - B - C - D - E - F - G
Application: Primary scale for the G7 chord sections; defines the tonal center with the flat 7th (F natural)
Interactive Fretboard Map
Chord Progressions & Movement
Main Progression
A 12-bar blues variation in 6/4 time using dominant 7th chords throughout, with the distinctive chromatic turnaround using D7#9 to Eb7#9 and back
💡 Theory Insight:
This progression creates a specific harmonic movement that defines the song's emotional character. Understanding the relationship between these chords helps in improvisation and songwriting.
Chord Shapes In This Section:
G7
C7
D7#9
Eb7#9
Harmonic Functions & Roles:
- G7 (I7)Tonic dominant chord; the Mixolydian home base creates a suspended, floating quality
- C7 (IV7)Subdominant providing classic blues movement away from the tonic
- D7#9 (V7#9)Dominant chord with the Hendrix chord quality creating strong pull to resolve
- Eb7#9 (bVI7#9)Chromatic upper neighbor to D7#9, creating the signature half-step chromatic slide
Key Techniques
Jazz Comping with Dominant 7th Voicings
IntermediateAccompanying the ensemble using compact dominant 7th chord voicings with rhythmic variation, providing harmonic support while leaving space for soloists
Uses chords:
Progression:
12-bar blues in G (6/4 time)
Technique Tips:
- •Less is more - jazz comping leaves generous space for the soloist
- •Use a clean or very lightly overdriven tone for warmth
- •Practice the 12-bar form until you can follow it without thinking
- •Listen to Freddie Green or Jim Hall for jazz comping style references
- •Swing the eighth notes: long-short feel rather than even eighths
Chord Extensions and Alterations
AdvancedUsing extended and altered chord tones (9ths, 13ths, #9) to create sophisticated jazz harmony beyond basic triads and seventh chords
Uses chords:
Progression:
Extended voicings over the 12-bar form
Technique Tips:
- •Learn multiple voicings for each chord at different neck positions
- •Prioritize smooth voice leading - move as few notes as possible between chords
- •The #9 voicing is the defining sound of this turnaround - master it
- •Practice switching between G7, G9, and G13 voicings to add variety
- •Keep your voicings in the middle register to blend with the ensemble
6/4 Swing Feel
IntermediateInternalizing the 6/4 time signature with a jazz swing feel, which gives All Blues its distinctive waltz-like groove distinctly different from standard 4/4 blues
Progression:
Applies to the entire song form
Technique Tips:
- •Donthe iconic vocal hookstrange' - just feel the waltz groove
- •Listen to the original recording repeatedly to absorb the feel
- •Practice with a slow metronome set to dotted half notes (2 clicks per bar)
- •The bass walks in a 6/4 pattern - use it as your rhythmic anchor
- •Relax into the groove rather than counting rigidly
Practice Exercises
Scale and technique exercises in the key of G Mixolydian / G dominant. Switch instrument sounds (Acoustic Steel, Nylon, Clean Electric, Piano) and practice at your own tempo.
Intro/Vamp
G7 Modal Blues Guitar Comping Vamp
Piano and bass establish the 6/4 groove with the signature two-note riff (G and Ab oscillation) before the head melody enters. Guitar should comp lightly or lay out.
- •The opening vamp is primarily piano and bass - guitar can lay out
- •If comping, use sparse G7 voicings on beats 4-6 only
- •The G-Ab auxiliary note figure in the bass defines the piece
Head (Theme)
Miles Davis Trumpet Head Transcribed for Guitar
The melody (head) is played by Miles Davis on trumpet. Guitar provides supportive comping using the 12-bar form with sparse, rhythmically varied voicings.
- •Support the trumpet melody with light comping
- •Follow the 12-bar form precisely
- •The turnaround (D7#9 - Eb7#9 - D7#9) is the harmonic highlight
Solo Section (Miles Davis)
Lyrical Modal Jazz Blues Solo Phrasing
Miles Davis solos over the form. Guitar maintains light, supportive comping, following the harmonic form and responding to the soloist's phrasing.
- •Comp responsively - react to what the soloist plays
- •Leave plenty of space between chord hits
- •Vary your voicings and rhythms each chorus to keep it fresh
Solo Section (Cannonball Adderley / Coltrane)
Advanced Jazz Comping G13 & C9 Voicings
Saxophone solos over the form. This section presents opportunity for more adventurous comping, using extended voicings and varied rhythmic patterns.
- •Use more adventurous voicings as the energy builds through solos
- •Extended chords (9ths, 13ths) add harmonic interest during longer solo sections
- •Balance increased harmonic activity with continued restraint
Head Out (Final Theme)
Final Theme Restatement & Restrained Comping
Return of the head melody to close the performance. Comping returns to the restrained approach of the opening head.
- •Return to the sparse comping style of the opening head
- •Match the dynamic of the ensemble winding down
- •The turnaround chords should be played with finality
Outro/Vamp
Fading 6/4 Modal Blues Groove
Return to the opening vamp figure, gradually fading as the ensemble winds down the performance.
- •Return to the two-note vamp figure from the intro
- •Gradually reduce comping as the piece fades
- •Match the ensemble's diminuendo
Equipment & Tone Setup
🎸 Guitar
Recommended Model:
Pickup Type:
Neck humbucker for warm, round jazz tone with rolled-off treble
Alternative Models:
⚡ Amplifier & Settings
Recommended Amp:
Tone Stack Dial-In:
Gain: 2-3 (completely clean, no breakup)
Treble: 4 (rolled off for warm tone)
Middle: 6 (present mids for body)
Bass: 5 (balanced, not boomy)
Presence: 3-4 (soft, round attack)
Alternative Amps:
🎛️ Effects Pedals
Overdrive / Distortion:
None - completely clean tone
Reverb / Delay:
Light spring or room reverb for natural ambience
Modulation / Other:
No effects needed; pure clean tone is the jazz standard
Recommended Learning Path
⏱️ 2-4 weeks for basic form familiarity
- •Learn open G7 and C7 chord voicings
- •Understand the 12-bar blues form structure
- •Practice counting in 6/4 time (1-2-3-4-5-6)
- •Strum through the form slowly with basic voicings
- •Listen to the original recording repeatedly to absorb the feel
⏱️ 4-8 weeks for solid comping ability
- •Learn D7#9 and Eb7#9 chord voicings (Hendrix chord shapes)
- •Practice the chromatic turnaround slide between D7#9 and Eb7#9
- •Develop a swing feel in 6/4 time with syncopated comping
- •Learn multiple voicings for G7 and C7 across the neck
- •Practice comping along with the recording following the form
⏱️ 2-4 months for performance-ready comping and soloing
- •Use 9th, 13th, and altered voicings for harmonic variety
- •Develop responsive comping that reacts to the soloist
- •Begin improvising melodies over the 12-bar form using Mixolydian and blues scales
- •Practice with a metronome and backing tracks at various tempos
- •Perform with other musicians in a jazz combo setting
Practice Notes & Routine
⚠️ Common Mistakes to Avoid
- •Overplaying - comping too frequently and not leaving space for the soloist
- •Playing in 4/4 feel instead of the correct 6/4 waltz-like groove
- •Using rock-style power chords instead of jazz 7th chord voicings
- •Swinging too aggressively or not swinging at all (playing straight eighths)
- •Losing track of the 12-bar form during extended solo sections
⏱️ Targeted Practice Routine
- •Warm up with dominant 7th chord voicings in multiple positions for 5 minutes
- •Count through the 12-bar form in 6/4 while tapping the swing groove
- •Practice the turnaround (D7#9 - Eb7#9 - D7#9 - G7) as an isolated loop
- •Comp through the entire form with the recording for at least 3 full cycles
- •Practice improvising a simple melody using the G Mixolydian and G blues scales
🎯 Key Focus Areas
- •Internalizing the 6/4 time feel with swing
- •Smooth voice leading between chord changes
- •The D7#9 to Eb7#9 chromatic turnaround voicing
- •Dynamic and rhythmic variety in comping
- •Knowing the 12-bar form automatically without counting bars
⏱️ Metronome Drills
- •Set metronome to dotted half notes for 2 beats per 6/4 measure (about 46 BPM per click)
- •Practice comping on offbeats while metronome clicks on 1 and 4
- •Gradually increase from 100 BPM to 138 BPM in quarter notes
- •Practice the form with just beats 1 and 4 sounding to test independence
- •Use a swing-eighth metronome setting if available for authentic feel