Blues with ii-V in E

Tritone substitutes

E7 A7 E7 A7 E7 F#m7 F7 E7 F7

Each dominant 7th that resolves down a fifth becomes the dominant a tritone away, which shares its 3rd and 7th, so the bass moves by half steps.

Related ii chords

E7 A7 E7 A7 E7 F#m7 B7 E7 F#m7 B7

Each dominant 7th gets the ii chord of its own ii-V before it, half a dominant's time each.

Passing diminished chords

E7 A7 E7 A7 E7 E#dim7 F#m7 B7 E7 B7

Diminished 7ths on the half steps between chords a whole step apart, or in place of a dominant whose 3rd is a half step above the chord before.

Basic Blues

I7 | IV7 | I7 | % | IV7 | % | I7 | % …

In E: E7 A7 E7 A7 E7 B7 A7 E7 …

The 12-bar blues in its simplest form, with dominant 7th chords on I, IV and V; the most commonly played progression in jazz.

Jazz Blues

I7 | IV7 | I7 | % | IV7 | ♯iv°7 | I7 | VI7 …

In E: E7 A7 E7 A7 A#dim7 E7 C#7 F#m7 …

The blues as jazz musicians usually play it: a #iv°7 passing chord in bar 6, VI7 leading to a ii-V in bars 9 and 10, and a I-VI-ii-V turnaround in the last two bars.

Bebop Blues

I7 | IV7 | I7 | v7 I7 | IV7 | ♯iv°7 | I7 | iii7 VI7 …

In E: E7 A7 E7 Bm7 E7 A7 A#dim7 E7 …

A bebop blues: the jazz blues with a ii-V into IV in bar 4, a ii-V into ii in bar 8, and a iii-VI-ii-V turnaround in the last two bars.

Bird Blues

Imaj7 | viiø7 III7 | vi7 II7 | v7 I7 | IV7 | iv7 ♭VII7 | iii7 VI7 | ♭iii7 ♭VI7 …

In E: Emaj7 D#m7b5 G#7 C#m7 F#7 Bm7 E7 A7 …

The blues as Charlie Parker reharmonized it: a major I chord, then ii-Vs falling by step through the first four bars and by half step through bars 6 to 8.