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Here is an arrangement of a great chord progression, one that is the backbone of 'Little Wing', that great Jimi tune made even more popular by Stevie Ray. Their versions dripped with the blues, which is a feat in itself considering the non-blues chords that they are. This is a more classical rendition and it's a perfect example of a progression that uses all the related chords of the key
*: the three majors (I-IV-V) and the three minors(ii - iii - vi). There is just one outsider thrown in there (bVII). Many seem to think that diatonic music like this is boring and uneventful, but here is proof of the opposite. I can't imagine any stronger sounding progression that this, personally.
This lesson also is a pot-pourri of different techniques all rolled together: finger picking, strumming, hammer-ons, pull-offs,
slides, muting ... I'll try and mention each, but the movie is worth a thousand words.
It's in the key of G, even though it starts on the vi chord, the Em. There never was any rule saying that a piece of music has to start on the I chord ... it certainly is the case more often than not, but here's an example of the unusual. The main thing that gives this away as being in the key of G and not Em is the end of the progression ... it lingers there on the D chord for a while, and D is most definitely the V chord of the key of G.
The Roman numerals are in the movie this time, as I thought it would be a better way of showing them 'progessing'. Just a reminder for those who are unfamiliar with this way of notating chords: the Roman numerals indicate which of the seven related chords of the key they are. You can pick any other key, apply these Roman numerals to it, and instantly know which chords will be which.
I have avoided all barre chords for this as they are the bane of most beginners, even non-beginners (I hate them, myself). I have used an unusual voicing for the Bm, one that makes it a 7th, and the F has been cut down to a non-barred version.
I've borrowed a few notes from the Little Wing melody, but most of it is just a series of 'guitar moves' ... by that I mean familiar sounding phrases that the design and tuning of the guitar make easy. I think you'll know them when you hear them.
You'll hear how I combine several techniques to create a texture that is pleasing and interesting to the ear (or at least I thinks so!) ... the opening bar for example is a two-note lead in to a plucked chord, followed by a strummed chord (I use the back of my finger nail), followed by a lone bass note root; bar
3 and
4 consist of one of the phrases I was mentioning, which involves sliding up and down, slurring the notes together, followed by another couple of strummed chords; I then repeat that phrase but resolve to the Em this time, and do the same double strum. I then use the same phrasing for a sinle note bass line that moves up from E to B, ready to underpin the Bm chord, which I arpeggiate with my fingers ...
As I say, a bunch of different ways of expressing these chords all merged into one arrangement ...
The next section is much the same, only here I take advantage of the many hammer-on / pull-off opportunities that the chords offer. Open C, G and the F played in that position allow for multiple h-o/p-o's ... so why not use them? Together they create their own melody line. I toss in a little double stop line for good measure, again trying to keep the whole thing interesting and (most importantly) fun to play.
I linger on the D ... I dip down into a Cadd9/A chord, just as decoration there. A simple C/D will do fine also, or don't even bother ... just hang on the V chord there, the D. You'll notice in the movie I leave the chord as a D, but dim it down.
The whole thing repeats after those bars of D.
You'll also notice a 2/4 bar in there. The way I counted it threw that up.
It's a beautiful progression, I never get tired of listening to those chords doing their thing. If you can, try and zero in on the flavor of each chord, on its context within the piece. You can really hear how each has its own vibe, its own color, its own function in bigger picture of the tune. We only hear them one at a time, but their influence rings on within the structure of the tune, leading the ear through the tune. Remember that apart from the F, all the chords are straight from the key, all have the same mother, namely the G major scale.
Have a good time with this. As always, feel free to explore the progression, to come up with your own paths through them. Trust those chord shapes as sources of melody and harmony lines ... experiment!
* apart from the vii - the half diminished, which is rarely heard in today's music.
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