The melody also lends itself to pasing chords. To create a full sounding arrangement, we then balance this with use of bass notes in the lower registers of the piano. Throughout the form we incorporate bluesy fills and licks in the upper registers. We use all 3 of these option to create a varied arrangement.
The minor to major movement can be voiced at the top of the chord, in the middle, or at the bottom as a bass line. The minor line cliche appears multiple times in the form and so we explore the different ways we can navigate through this common progression.
To start this tutorial, we play through the form again adding some bigger, more interesting voicings and applying more advanced harmony including altered voicings and upper structure triads. In this lesson we take it a step further by applying this scale to the tune Georgia On My Mind. In part 1 of Georgia, we introduced the concept of the major blues scale and the extended blues scale.
