ExAmplE1 Bluesy turnaround/intro
We kick things off with a bluesy I -VI-II-V turnaround in the key of A beginning with a selection of big-band style voicings that descend chromatically but change function depending on the implied bass notes of A, F#, B and E respectively. Bars 3 and 4 illustrate a concept that Ted refers to as ‘minorising’ a 7th chord, moving between a I7 and Vm7 for each
icnaonlutimnanblues, so here we see A7 to Em7, D7 to Am7. This chordal lick ends with a descending figure that would make Robert Johnson proud before moving to a more modern ii V I7 toward the IV of the key (D6/9#11).