![]() ![]() 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.
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