JAZZ
triad, which is tonic, perfect 5th, minor 3rd,
but I’m adding the open G string and the
open high E string, so that’s gonna give me
the interval of a minor 2nd, which is the ♯ 5.
The E on top is functioning as the 11, so
this is actually a kind of a Bm11 with a ♯ 5.
Now, I’m keeping that open G string for the
next chord, which is a very simple B♯ major
triad, with the open G functioning as the 6,
and I’m putting the 7 on top, so this is actually a kind of B♯maj6.
The next chord is a G dominant 11, but
I’ve got the 11th and the 3rd functioning
together, so I have an F on the bass, C,
open B, and the G on top. The next chord
is an Amaj9—a little bit of a stretch. I have
the major 3rd, the major 7th, tonic, 9, and
5 on top.
Moving on, the next change is an E♯ minor
triad—very simple: tonic, perfect 5th, minor
3rd, with the open B string, which is func-tiong as the ♯ 5 in this key. I’m grabbing the
open E string on top, which is setting me
up for a Dmaj6add9, then a certain kind of
F♯ dominant chord that has the ♯ 9, the 3rd,
and the 11. It sounds a little like flamenco
music.
Now we’re moving onto a B major chord,
I’m playing a simple major 9: tonic, perfect
5th, 9, 3rd, 5, and I’m making it Lydian.
Next is a B♯m11, with a raised 5 in it. And,
probably the hardest chord in the tune: an
A triad with a G in the bass, so it’s actually
a kind of a Gmaj6 with a flatted 5th, with
the open B string. Then, another F♯ 7—this
one’s pretty easy: flat 9 to major 3rd. Now
I’m kind of reprising the opening section of
the tune, but this time when I go up to the
A♯, I’m playing an Am9: tonic, perfect 5th,
minor 3rd, 9. Sometimes I look for melodies
I can repeat in a tune with variation. The
last little part of this tune is Am9, B♯m6, D
harmonic minor with the 9 on top, major
7, ♯ 5, minor 3rd, and root. And there’s the
tune.
