Blues with ii-V in F

Tritone substitutes

F7 Bb7 F7 Bb7 F7 Gm7 Gb7 F7 Gb7

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

F7 Bb7 F7 Bb7 F7 Gm7 C7 F7 Gm7 C7

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

Passing diminished chords

F7 Bb7 F7 Bb7 F7 F#dim7 Gm7 C7 F7 C7

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 F: F7 Bb7 F7 Bb7 F7 C7 Bb7 F7 …

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 F: F7 Bb7 F7 Bb7 Bdim7 F7 D7 Gm7 …

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 F: F7 Bb7 F7 Cm7 F7 Bb7 Bdim7 F7 …

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 F: Fmaj7 Em7b5 A7 Dm7 G7 Cm7 F7 Bb7 …

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.