George gets you going on the next chord in the F blues sequence. At this point, you should have a couple of tools on the F7, and now you should learn the B flat seven. The principle is the same. You’re going to look at ways to put the notes of the B flat seven chord on the beat, and essentially, this is called a Mixolydian mode. Here, you learn the second of the four approach note patterns.
- Let's get going on our next chord…in our blues sequence.…We have a couple of gray tools on the F7,…and now we're going to go to the B flat seven.…The principle is the same, again,…we're going to look at ways to put the notes…of the B flat seven chord on the beat.…And the B flat seven chord is B flat, D, F, and A flat.…Those are going to be our, the notes that we want…on the beat as we compile this scale.…
Essentially it's called a Mixolydian mode…if you play the seven note scale,…so what it would be is an E flat scale…starting on the B flat.…Once again though, we run into our problem…when we go past that first bar's worth of notes.…That's all great 'cause we've got…on the beat.…If we continue up though with the seven note scale,…and again that produces this kind of a thing.…
If these are the notes that we're putting…on the beat instead of these, we're out of sync.…So our scale for the B flat seven…is going to be the same idea as it was for the F7.…We're going to add a passing tone…between degrees flat seven and the root.…
Note: This course was recorded and produced by ArtistWorks. We're pleased to host this training in our library.
- The blues in F
- Building a scale out of the F7 chord
- The B flat 7 bop scale
- The G minor 7 bop scale
- The C7 bop scale
- Practicing guide tones