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Blues Soloing and Basic Harmony - Page 8

by Christopher Sung
 
Pages: 1 · 2 · 3 · 4 · 5 · 6 · 7 · 8
 
The last few pages have focused on the major 3rd of the A7, D7, and E7 chords in our A blues form. We can also pay some attention to the flatted 7th. This would be the G on the A7, and the C on the D7 (which we looked at on pages 4-5). The layout for moving from the A7 to the D7 and focusing on the b7 notes is: cho|5|x|x|x|8|x|G on A7|cho cho|x|5|x|x|x|8|C on D7|cho |cr| In this example, we bend up to the G (b7) for the A7 in measure 1. In measure 2, we do the same type of bend, but for the D7 instead of the A7, which means the target note is the C - the b7 of D7. And what's that over the A7 chord in measure 3? Why, it's our trusty bent major 3rd that we've come to know, love, and respect (well, at least I have, anyway...).
 
 
 
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