Let's take a quick spin through
the harmony that we would
apply to this tune.
Let's start with our nice
little ninth voicing,
which is again the flat seven which
is just the seven of the chord.
The nine which in this
case is the F sharp,
and once again that's because seven
there would be the eight, so
this extension is the nine,
and then the five.
Reading up from the bottom on E7,
D, F sharp, and B.
Same principle applies,
we will go up, each note
will go up the scale.
Since the E7 mixolydian scale
is derived from the A major scale all
you need to do is just walk your notes up.
Our E7, being derived
from that A major scale.
Just find the next note up for
each voicing in there
and move it up and around.
For the A7 chord the notes of our basic
voicing are flat seven, nine, and
five voicing would be G, B, and E.
Then for the B7,
the seven is A, the nine is C sharp,
and the five is F sharp.
Let's take a quick review of our
drop voicings for these chords.
The most basic ones would be again,
with our chord in root position.
We invert it up to the first inversion
by putting the bottom note on top.
Do that again, you get the second
inversion, do it again and
you get the third inversion which is
the one that we've been working with.
Take the root, drop it an octave.
And let's put this one down here.
Where it has a nice kinda wooden quality.
If you want to you can go
like that to find our A7 voicing.
Again we're taking the basic
root voicing, A, C sharp, E and G.
We're inverting it first inversion,
second inversion, there's our third.
That is not
as clear as
That has a nice clear quality
to it that's still kind of rich.
For the B7 [SOUND] that's
the voicing there.
We can also use our drop
two voicing on this,
which means drop the second voice and in
we would take the G sharp,
it's actually a drop three voicing.
And put that down here instead,
which opens that chord up.
On that E7 then,
we would have G sharp, D, E, and B.
this one I would actually,
probably, play down here.
Again, if you're down around,
let's say, here,
you start to hear that three as
the base note, and we don't want that.
But above this C below middle C you
can go ahead and voice like this.
And then the B,
These voicings of course
are derived from the basic,
elemental root position voicing.
We're just rearranging the notes.
So, there are kind of the open voicings
in there that we would use on this chord.
And the guide tones are the last
thing we'll look at.
Very simple as always.
The third and the seventh of the chord,
there's the third, there's the seventh.
Again, I like to try to keep these
down in maybe in this octave if I can.
I don't really want them up here.
And I'm not loving that, either.
For one thing,
I'm often blowing in this register.
So keep it in here.
And then when we get to the A7,
third in the seventh of the chord.
Then when we get to F sharp,
seven and three, lower that seven
a half step and you get the third of B7.
So if we're
our left hand,
Actually it would be
We're gonna get to that
chord in a little bit.
That is the harmony that we
need to play on an E7 blues.
Let's put up the track and
have a little bit of fun with it.
We're gonna add everything in there,
some motivic playing.
We're gonna comp a little bit,
we're gonna use our pentatonics,
our approach patterns, our bop scales.
And it's a great exercise that again
expands our harmonic vocabulary and
our knowledge of key centers,
scales and different chords.
It doubles it to just play
this a half step lower.