B flat blues scale1/30/2024 > Step 3: student plays the 12 bar blues progression with LH > Step 2 student mixes up the notes of the B flat scale to create a short improvised solo > Step 1: student plays the B flat scale with RH We use this page to explore improvisation! I've been developing these "Cheat Sheets" over the past couple years to help my students learn various piano skills. I try to keep our lessons fun and colorful, and I like to provide different visuals to help them in their learning. You should practice the arpeggios like I’ve written them out, but you would get a lot from also improvising over the progression just using the arpeggios.Hi! I am a piano teacher who works with a lot of young kids. To make it easier to connect the different arpeggios I have written them out in a similar range which means that I don’t always start on the root of each chord. In example 3 I have written out the arpeggios in this position. Therefore it is very important to be able to play the chords of the progression as arpeggios. When playing over changing harmony the best way to really follow the chords is of course to use the notes of the chords in your solo. You can use this approach to determine what scale you should use for any auxiliary dominant. In this context the (actually in most contexts) that means using the C harmonic minor scale. If I need to fit an E dim in there then an easy way to do that is to replace the D with a Db and the Eb with an E:īb C Db E F G Ab Bb which you can write out from F to recognize that it as an F harmonic minor scale.įor the G7(b9) you need to look at it as a dominant resolving to Cm, which tells us that we should use a Cm scale for it. You can see how I arrive by this by looking at it from the Bb7 scale: The E dim scale is in fact an F harmonic minor from E to E. The Bb7,Eb7,Cm7 and F7 are easily understood in terms of where they sit in the key, since it is all mixolydian or dorian.
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