As for the lead phrases, they are based on the famous minor penta position (here in G, 3rd fret) or its extension. The rhythmic part supports the groove of the piece and beats 2 and 4 (also called “weak beats”). We speak about antecedent and consequent. Indeed, each group of four bars can be divided into 2:Ģ bars of rhythm and 2 bars of solo phrasing. A quick look at the score and you’ll see the natural breakdown of this 12-bar grid. The inspiration for this song is Come When I Call by John Mayer. The first roundīut before we go deep into that, let me first start with a full grid. The rest of the grid follows a very classical pattern in the alternation of degrees: two measures of IV ( C7), two measures of I ( G7) and then the sequence V-IV-I-I ( D7-C7-G7-G7).īecause of its internal structure, easily divided into groups of two or four bars, the blues is an ideal playground for practicing the famous “question and answer” concept. We start with G7 and then, in bar 2, we find the chord of the IVth degree in order to bring a light harmonic movement: it is what we call a “quick change”.Īs this variation is not imposed, we could also have stayed four measures on the G7 chord. The harmonic progression is quite simple and is based on 3 chords (degree I = G7 / degree IV = C7 / degree V = D7) arranged according to a pre-established order.
