Sixth chorus - Em G6 harmony

E Minor Harmony and Trills

So, yeah, moving on to the next two sections, which are built on this nice E minor harmony in the right hand, functioning like a G6.

• A G triad with the 6th would be that.
• Midlux Lewis has this voicing, which is very much an E minor triad since we're in the key of G.
• It has a G6 ring to it, but still provides a really nice warm harmony on top of a bass that's chugging away underneath.

The Trill Technique

Okay, so let's look at that trill.

• Remember to keep a really loose wrist.
• Allow for rotation, it's not just your fingers waggling; it's your whole forearm.
• I'm kind of rotating it around that G.

After I've kind of skipped off the F sharp to the G, I'm using that as a pivot for the trill.

• This movement fills the sound.
• By playing a very strong G chord, we solidify the G tonality and create a rich G6 sound.

The Harmony Shift

There's a nice disparity between the major sound going to a much darker tone on the four chord, then back to the brighter G6.

• Not much to say about that, apart from it's based on a more bluesy feel with chugging cross rhythms again.

The Next Chorus

Now, this next chorus is again built on that kind of E minor / G6 structure.

• Not sure sometimes if it's a full E minor chord or just a simplified version, so make sure it really rings out at the top of the voicing.
• To me, that sound resembles the warning bell at a railroad crossing, at least, that's what it always reminds me of.

Similar Ideas and Rhythm Changes

When we get to this section, it's a kind of similar idea to the turnarounds, but on the chord four.

• Maybe it's played as the full chord, or just another variation.
• Then we've got A or perhaps it hasn't got the E in it, maybe it's just a D alter.

Ultimately, that doesn't affect the impression of the music.

• The rhythm here is slightly different.
• We've moved from triplets to kind of 16th notes.

In this bit, with that added line at the bottom, sometimes I can't tell on the recording if there's an extra note, like a bottom F sharp.

• Again, it doesn't really affect things, but it's something to bear in mind if you want a little bit of variation.