The Concept - This etude continues the previous etude's, F Blues Etude #1, theme of emphasizing the 3rd of dominant chord and the b7th of the dominant chord.

• 3rd of F13 chord on first beat (A)
• b7 of F13 chord on third beat (Eb)
• Indication of F chord with A-C-F arpeggio
• This motif is taken from a desc Bb scale, with an additional E note

• b7 of Bb13 chord on third beat (Ab)
• 3rd of Bb7 chord on first beat (D)
• Continuation of theme from previous measure

• 3rd of F13 chord on first beat (A)
• b7 of F13 chord on third beat (Eb)
• Arpeggio (Ebma7) suggests F11-F13 chord

• 3rd of Cmi9 chord of first beat (Eb)
• B natural (second eighth note) suggest CmiMaj chord
• Note B arpeggio leading to Bb in next measure

• 3rd of Bb7 chord on first beat (D)
• b7 of Bb13 chord on third beat (Ab)

• The Bb13 in the previous measure naturally goes to a B07(B diminished) motif, thus adding tension for the upcoming resolution to F13 in the next measure
• Gb arpeggio, which is 1/2 step above the F13 (next measure), naturally resolves to F13 (next measure)

• A hint of Fma7, with and added G#, which leads to A (third eighth note), allows for an F scale lead into F# (next measure)

• Note the hint of an Ab major arpeggio on beats three and four, which leads into the G9 arpeggio, in next measure.

• Instead of using the traditional ii minor 7 (Gmi7), it is quite common to use the dominant second, II7, which results in G13.
• Simple G9 descending, and ascending arpeggio is used in this measure.

• F scale (descending from Bb to A in next measure)
• This works because of the ii7-V7-I progression to F13 - Gmi7 - C7(b9) - F13.

• 3rd of F13 chord on first beat (A)
• 3rd of D7(#9) chord on first beat (F#)

• Bbma7 arpeggio implies a Gmi9 chord
• Note the sharp 9 (Eb/D#), and the b9 (Db)
• Any alterations of the 5th and the 9th, result in an alt, (altered) chord.

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©2005 Tony Ventura