So far we've been talking about the basic blues progression which is the Major Blues, but there's also Minor Blues. On the screen, you can see harmonic properties basic distribution of chords in C Minor Blues. Just like it's major counterpart, it also has 12 bars. It also has three, four bar phrases, and it also has the same distribution of harmonic functions. Let me first play the structure of the blues, so we can hear the completely different flavor of a Minor Blues. One, two, one, two, three, four. [MUSIC] As you could hear, we just went through 12 bars of the blues. Just as in major blues, minor blues start with a minor tonic. So C minor chord [SOUND] is your minor tonic. It occupies the first phrase of the blues. Measure five features motion two minors, minor subdominant. So your F minor 7, is built on scale for the C minor key before returning to the tonic in measure seven. Now what happens in measures nine should be our dominant seventh is a little bit different. But we'll try to make sense out of these two chords. [SOUND] For the G7, actually is postponed until measure ten. So our dominant G7 is happens on in measure ten before returning to the tonic in measure 11 [SOUND]. So let's first talk about this A-flat seventh chord. Remember when we talk about early blues I mentioned that flat sixth scale degree is one of the most characteristic chromatic colors in the early jazz blues progressions. So, the A-flat seventh in relation to the key of C minor is built on flat sixth scale degree, all right? [SOUND] And it's close proximity to the dominant [SOUND] on five. Makes it a perfect embellishing chord emphasising the arrival of the dominant. Even though the dominant does not occur in measure nine, conceptually it is there. So let me say that one more time. Even though the dominant seventh doesn't occurred in its fixed location in measure nine, conceptually it is there but its occurrence is delayed. By the use of what we call upper chromatic neighbor built on scale of A flat sixth. [SOUND] Both of these chords are have the same qualities [SOUND]. Dominant seventh going to dominant seventh going to [INAUDIBLE] [SOUND]. Just as in the major blues, in basic blues progression, measure four, the role of measure four is to foreshadow and anticipate arrival of the next structural harmony. So in measure four of the minor blues you can see C7. Can you guess what it is double function within the progression? When you look at the next chord, F minor, [SOUND] and the C7, [SOUND]. So C7 is dominant of F minor. [SOUND] So by using the dominant of F minor, we are making the arrival of the subdominant more inevitable. And at the end of the fourth measure, measure 12, we have a nice dominant leading back to the tonic. Well, we can make one additional adjustments to minor blues. If you want to follow the same premise that I have introduced while talking about the basic blues. Instead of a single dominant occupying the entire measure, and it's supportive role as a preparation of the next structural chord. We can expand these dominants into local two five progressions. So instead of C7 [SOUND] occupying a whole measure, we can actually insert a two five one progression which will be G, C, F, G being the tool of local F minor seventh. Now it gets a little bit more complicated because we are tonisizing. We're preparing new key area, which is a minor key. So the quality of the two chord has to be modified. We won't be dealing with minor seventh chord but we have to deal with minor seven flat fives in order to be consistent grammatically correct within the minor key area. So the sound of the two five would be like this. [MUSIC] Right, and similarly at the end of the form, instead of D minor G7 we will have D minor 7 Flat 5, G7. So the use of half diminished minor seventh two, five, one because [SOUND] we are in the key of C minor and the use of harmonic diminished chords to is more appropriate.