The Concept - The minor blues is a typical Jazz chordal structure. This etude emphasizes the recognition of passing chords by strategically placing the 3rd and the b7th of the dominant chord tones. See the measure-by-measure analysis for a more detailed explanation.

• Area of concern is to land on Ab (mi3 of Fmi7)
• Short motif starting on 9th of Cmi (D)
• Note the chromaticism (last sixth eighth notes), which, again, lands on Ab. Note: This gives an strong indication of the Fmi7 chord.

• 3rd of Fmi7 chord on first beat (Ab)
• Note the FmiMa hint with the third eighth note, *E, quickly leading to the G (ninth of F)
• The B, gives an indication of a G7, which provides a strong resolution back to Cmi7

• G7 hint on first three eighth notes. The G7-Cmi7 byplay, provides tension resolution between the dominant chord, G7, and the tonic chord, Cmi7

• 3rd of C7(#9) chord of first beat (E), gives strong indication of a dominant chord, C7 (#9), leading to its tonic chord, Fmi7.

• Utilizing notes of the Fmi7's relative major, Ab scale, leading up to the *C in the next measure

• Fmi7 arpeggio, leading to notes of G7 chord, thus providing movement to the tonic chord, Cmi7

• Ascending and descending minor 7th arpeggios

• Bbmi7 arpeggio, chromatically resolving to E, next measure

• Ab arpeggio, which starts on E, lands on b7 (Gb) on third beat

• The intention is to land on *G, which then continues with a G9 arpeggio

• Utilizing notes of Cmi7's tonic parent, with additional *chromatic passing notes

• By starting on B, the third of G7, a strong indication of the dominant chord, G7 which naturally leads to Cmi.
• Note the chromatic passing tones, with the Gb proceeding back to G

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©2005 Tony Ventura