In the video, I was offering up the Extended blues for a bluesy version. It all depends on what sound you are going for, what voicings you are using in the left hand and how comfortable you are with that scale. It’s a more sophisticated jazz sound to be sure, but it could work. I know you know this, but for anyone else reading on… Now, the Altered Scale is built off the Dominant Mixolydian as well by keeping the sound defining notes… So the extended would just add 4 (11) and b7 Major Blues – (major pentatonic with added b3)ġ.2.b3.3.5.6 For F it would be – F.G.Ab.A.C.D Otherwise, the Extended Blues is better thought of in terms of the Major Blues with added 4th (11th) and b7… Of coarse this is only useful if you know the template for the Dominant (Mixolydian) Scale.

I was using the Dominate (Mixolydian) Scale as a reference to the extended Blues scale which simply adds a b3 to it…ġ.2.b3.3.4.5.6.b7 For F it would be – F.G.Ab.A.Bb.C.D.Eb So this is a much simpler scale than the V7alt scale. It’s exactly the same as the major scale but with a flat 7.ġ.2.3.4.5.6.b7 For F it would be – F.G.A.Bb.C.D.Eb So to answer your question, by Dominate Scale I’m actually referring to the Mixolydian scale – the 5th mode of the major scales. Hope things are going well for you and yours at this time. We will explore the ‘Anatole Turnaround’ where we put everything into a full measure, giving our singer tons of space to do their own ending.Īlways wonderful to hear from you. We will add a ‘Trad Jazz’ ending that’s a fairly common device to use in older jazz music. Something I like to do for my own arrangement, is to then play the first A up high, rooted and simple, then come down into walking bass for the 2nd A Section. If you are working with a seasoned singer, or if you are performing this song on your own, then you can use an introduction to run some improvised fills using the F Blues Scale and other bluesy embellishments influenced by the great Ray Charles. There’s no hard and fast rules here other than to see what you like and what adds to the message of the music that you want to communicate. We can add as many rootless as you like but also experiment with triads and rooted voicings. If you are feeling comfortable at this point, you ca start to be arrangement-minded, deciding what sounds good to you. Introducing Rootless VoicingsĪfter covering the basic 7th chords, we will introduce rootless voicings in our right hand. In this lesson we will start with 7th chords, and give a mind to the arrangement.

In the first video, we familiarised ourselves with the basic melody and harmony, and worked on a simple application of walking bass. Welcome to this 2nd lesson of “Georgia on my Mind”, for the accompanying pianist, or the singing pianist.

Jazz chords georgia on my mind