Si Descending Minor Cliché
vi – viM7 – vi7 – II progression in Si major
Si Descending Minor Cliché — vi – viM7 – vi7 – II
The B Descending Minor Cliché (G#m – G#m – G#m – C#) is a voice-leading movement through the vi chord — from minor to minMaj7 to minor7 — using chromatic inner-voice motion derived from Melodic Minor and Harmonic Minor scales. The Minor #7m Pentatonic and Minor Six Pentatonic scales map directly onto the resulting chord tones. This sophisticated technique is central to jazz standards and classic orchestral pop. With seventh voicings (G#m7 – G#mM7 – G#m7 – C#7), the chromatic descent is fully realized.
Playing in Si major
B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through G# to G# (ascending unison), G# to G# (ascending unison), G# to C# (ascending perfect fourth). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from C# to G# by perfect fourth.
Capo Transposition
To play in B using familiar open chords: capo 2 with open A shapes; capo 4 with open G shapes; capo 7 with open E shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
B major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, B Mixolydian adds the flat seventh for an authentic blues-rock edge.
Strumming Pattern
Use D-DU-UDU at 100-120 BPM for a standard pop strum. Accent beats 2 and 4 for a backbeat feel. Vary dynamics between verse (lighter) and chorus (stronger) to build energy.