Example2 Blues chorus #2
This chorus features a lot of varied interplay between C (the minor 3rd of A) and C# (the major 3rd of A). The first two notes in Bar 0 are C followed by a hammer-on to C#. Then, we get a slow bend from C to C# in bar 1. And in bar 2, a C note is bent slightly sharp so that it starts inching its way towards C#, but never quite makes it (curl). The rest of the solo hovers between A major (dominant) and A minor (in other words, it pivots heavily around the A tonal centre); however, chord tones belonging to the underlying chords are targeted throughout. There are a few points of interest. Firstly, the pick-up line at the end of bar 6 is played in anticipation of the following A7 chord; strictly speaking, the C# note clashes with the underlying D7, but the following chord – which the listener is expecting in this familiar progression – makes it sound acceptable (coupled with the fact that it forms part of the main musical motif used throughout the solo). Try replacing the C# note with a more ‘appropriate’ D (root of D7) and see what you think. What’s most important: the underlying chord or the tonal centre of the overall chord progression? Finally, bar 11 features a common chromatic cascade whereby the 6th interval between E (third string) and C# (first string) is taken down chromatically to D (third string) and B (first string): both are notes from A Mixolydian. And bar 12 also features some chromaticism: this time to approach the E note (fifth string) in the final chord from below.