Blues Soloing and Basic Harmony - Page 7

by Christopher Sung Up until now, it's been all about the A7 and the D7 chord. What about our lonely E7, which appears in the 9th measure of the tune? Could we do the same thing with the E7, in which we bend up to its respective major 3rd (G#)? You bet we could. The layout on the guitar for accentuating the G# for the E7 and then moving to the F# of D7 is as follows: cho|x|x|14|x|x|16|G# on E7|cho cho|x|x|12|x|x|14|F# on D7|cho |cr| This example covers the last 4 bars of the form (E7 - D7 - A7 - E7). In measure 9, we bend up to G# of the E7. In measure 10, we bend up to the F# of the D7. Notice how the notes in measure 10 are very similar to measure 9, but just moved down two frets. We finish off with a little run in mms. 11-12 - and what's that bend lurking at the end of measure 11? Why it's a bend up to the C# for our A7 chord (I think we've seen that before, haven't we?)...