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Leaving The Past tab

version 5
version 5

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About this tab version
Other tabs do not have The Bsus6/B section or is used in different voicings. Also i add a deconstuction paragraph about how functional harmony is used with the choice of the chords. Was this info helpful? Yes No
Immortal Technique - Leaving the Past

Guitar Part Samples from Mercedes Sosa - Agosto en Tucumán

Tempo - Allegro (roughly 130 bpm)


     Am7                  D7        Bmsus6        B         Am    Am7   Am7  Am7sus4    B7
e|-----------------0---3---2---3---5---7---8---7---7---5------5-----3-----3------3--------2-|
B|----1--------------------1-----------5-----------4----------5-----1-----1------1--------0-|
G|------------0------------2-----------7-----------4----------5-----0-----2------2--------2-|
D|--------2------2---------0-----------5-----------4----------------2-----2------0--------1-|
A|----0--------------------------------------------6--------------------------------------2-|
E|------------------------------------------------------------------------------------------|

  Em               E7
e|--0---------------0--------------|
B|--0---------------0--------------|
G|--0---------------1--------------|
D|--2---------------0--------------|
A|--2---------------2--------------|
E|--0---0---0---0---0---0---0------|


A bit of how and why the piece works (for fun):

The Piece starts in the key of Am going from the tonic to a the subdominant a IV7 is 
used rather than
just a VI as the Tritone created by the major 3rd and minor 7th reslove onto the 
(supertonic) Bm
hence why i chose to put a Bm as the 3rd chord rather than the a B major as even though 
a 3rd isnt
played it is heavilly implied  by the the prevouis D7 chord. The piece then momentarlly moudlates
to a different key as the major of supertonic is played however this barely last as we 
are back
the the tonic of the original key (Am) minor 7th are added to create intrest however 
they dont
play another role that that. The piece modulated again as  the B7 chord is played 
however the
tritone in there resolves onto the Em which is in the original key which last is 
followed by a
the final modulation to an E7 which contains a tritone which beautifully resolves back 
to the
tonic of the original key giving the piece its cyclical feel.

Apologies if the music theory is a bit off, its been years since a last studied musicly formally

            
            
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