LAST MONTH, WE began our investigation into ways in which to incorporate diminished ideas into a blues solo. Our examples were based on a standard 12-bar blues progression in the key of A, and we made it from the I (one) chord, A6, to the IV (four) chord, D7, and back. This month, let's continue by heading from the I chord to the V (five), E7, and back, using diminished 7 chord shapes, which I'll refer to simply as diminished, as harmonic-melodic "bridges" between the primary chords.
As shown in FIGURE 1, I'm transitioning from A6 to E7 using Ebdim7 as a bridge. A great thing about a diminished chord is that any of its four notes may be considered the root. For example, the notes A, E, G (F) and C, as shown in bar 2, can be thought of as an Ebdim7, Adim7, Godim7 or Cdim7 chord.
هذه القصة مأخوذة من طبعة September 2023 من Guitar World.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة September 2023 من Guitar World.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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