Finding out about harmony movements is an intriguing report it’s certainly part of the craft of playing beat guitar; the capacity to improve the exhibition by including the suitable consonant surface is fulfilling and gives your music it’s own one of a kind sound. In past articles I have talked about the essential 12 bar blues movements in this article I’m going to concentrate on the Latin blues movement. How about we perceive how we can make a 12 bar blues harmony movement with a Latin vibe, it will unquestionably astound performers at your next jam meeting! Here’s a snappy token of the essential arrangement of harmonies in a 12 bar blues introduced in the key of ‘C’.
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Unique harmonies.
C/| C/| C/| C/|
F/| F/| C/| C/|
G7/| G7//| C/| G7//|| C (last time)
Latin style blues harmony movement
Cmaj7/| Bm7b5/E7b9/| Am/Ab7/| Gm7/C7/|
Fmaj7/| Fm7/| Em7/| A7/|
D7/| Dm7/G7/| C/F7/| Cmaj7/G7+/|| Cmaj7 (last time)
Bar 1: Cmaj7 substitute for ‘C’ significant harmony
Bar 2: Bm7b5 (otherwise known as B half lessened) to E7b9 is a two, five movement in the key of A symphonious minor; notice how these two harmonies resolve to the ‘Am’ harmony in bar three.
It’s essential to note likewise that the Bm7b5 to E7b9 is the start of a cycle development harmony movement.
Bar 3: ‘Am’ is the general minor of ‘C’ major and in this example it is being fill in for the ‘C’ harmony in bar three (allude to unique harmony movement).
The Ab7 is a level five replacement for a D7 harmony; D7 would be the following intelligent harmony to happen in our cyclic harmony movement after the ‘Am’ harmony.
How this functions:
Notes of D7 = D, F#,A,C
Notes of Ab7 = Ab, C, Gb, Eb
Applying the level five replacement guideline (tri-tone replacement); on the off chance that we smooth the fifth note of the D7 in this way making the ‘A’ note a ‘Stomach muscle’ we presently have three notes of an ‘Ab7’ harmony.
D7 = D, F#,A,C
D7 with the level five note = D, F#,Ab,C contrast these notes with the notes of an Ab7 harmony: Ab, C, Eb, Gb.
When considering this model remember that F# and Gb are a similar note.
Bar 4: Gm7 to C7 is a two, five movement in the key of F; notice how this movement takes steps to the one harmony (Fmaj7) in bar five.
Bar 6: Fm7 is a two harmony in the key of ‘Eb’.
Bar 7: Em7 subs for Cmaj7 (explicitly Cmaj9).
Notes in Cmaj9 = C, E, G, B, D
Notes in Em7 = E, G, B, D
Notice how the two harmonies contain similar notes just the Cmaj9 contains an extra ‘C’ note hence it could be accurately expressed that a Cmaj9 harmony could likewise be composed as Em7/C.
Bar 8: A7 harmony proceeds with the cycle development; A7 is harmony five in the key of ‘D’.
Bar 9: D7, again part of the cycle development harmony movement; D7 is harmony five in the key of ‘G’.
Bar 10: Dm7 to G7 is a two five movement in the key of ‘C’.
Bar 11: C to F7; a one to four movement.
Bar 12: Cmaj7 to G7+ is a one to modified five movement; G7+ is a G prevailing seventh harmony with a honed fifth.
The ‘G’ entire tone scale will function admirably over the G7+ harmony.
Zolyne 