Example2 Blues cho­rus #2

Guitar Techniques - - LEARNING ZONE -

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.

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