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Skip to 0 minutes and 10 seconds Let’s do the same thing now using upper voicings. And we’ll use the enhanced skeletal form, where we change to F minor 7 in the second bar. One, two, one, two, three, four.

Skip to 0 minutes and 52 seconds That’s our basic skeletal blues, but remember, when we were looking at this, we did say that there’s, again, a possibility of bars nine and 10 changing around – the guitar blues – as I called it, when we were talking about a major-based blues sequence. It tends to be the other way around when you’re talking about a minor blues sequence. That is to say, in bar nine it’s F minor 7 and in bar 10 it’s G7, and the reason will become clearer when we discuss a standard blues sequence. If you’d listen to the play along, you’ll hear that the bass player is playing long Gs in that 10th bar, so it is that way around. Let’s have a go.

Skip to 1 minute and 42 seconds We’ll just do it with the lower voicings.

Playing Skeletal Minor Blues Sequence with a playalong using upper voicings

We discuss the Skeletal Minor Blues Sequence and how to play it with a playalong using upper voicings.

You can download the minor blues sequence in Cm (2) in PDF format at the bottom of this step. Click here for a playalong for “C Minor Blues (Basic2)”.

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This video is from the free online course:

Learn Jazz Piano: II. Improvising on Jazz Standards

Goldsmiths, University of London