![]() ![]() This lesson does incorporate more advanced theory, just to show how far we can take a tune. If you watch the course above that should all make sense to you.Ĭonveniently, the tune we work on in that course is also in the key of D Minor.ĭid you check out the step-by-step course on this tune? You can find it here: When playing in the key of D minor, as the arranger, or the improviser, we can choose if we want to bring out the colours of the natural minor, or as more commonly found in jazz music… accentuate the colours of the melodic and harmonic minor. There is only 1 or 2 notes different between them which adds the slightly different flavour. I like to look at the different minor scales simply as a different ‘flavour’ or ‘colour’ of the same minor key. Regarding your question with natural/melodic/harmonic minor, you should check out this course: Conversely, when we play the B section of the tune, it has a much darker and sadder vibe. ![]() If we play the A section of the tune, it predominantly has a ‘happy and cheerful vibe’ which is characteristic of major keys. ![]() We know that the tune has modulated because the bridge heavily features D minor, and also G-7 which is the iv chord of D minor, and so the tonality is predominantly minor in the bridge. It’s fairly common for jazz standards to modulate to the relative minor in the bridge/B section. In this case F Major.Īnother thing to note is that tunes often modulate, and in the case of Georgia, there is a modulation in the bridge to the key of D Minor, which is the relative minor. When a tune starts and ends on the same chord, it’s usually a very solid indication that the chord is written in that key. This is where the song resolves, and as we see in Georgia, the tune finishes on Fmaj7 and so the song is written in the key of F. This is why I said the best way to identify the key of the song, is to look at the last chord. It’s worth noting that tunes can start on other scale degrees, for example, it’s also fairly common for tunes to start on the ii-7 chord of the key. In many cases, jazz standards start on the 1 chord, in this case Fmaj7, which gives us an indication that the tune is in the key of F. The easiest way to tell what key a tune is in, is to look at the first chord and even better the last chord. Yes you are correct that the relative major and minor share the same key signature. I will get back to you shortly with an update from the developer and hopefully he can improve the on-screen buttons. I have asked him to check over on iPad.Īnother option is to connect a keyboard to your iPad either via the cable or via bluetooth and then you can press the I and O buttons on the keyboard. I know that the developer recently made some additions with the I and O controls. Thanks for letting me know about the video player. But leave it with me and I will create some voicing charts that can be used for reference. With this course I try to show the many options that we have for voicing the chords so that we are not reliant on a transcription. The problem with transcriptions is that the temptation is there to simply read the notes like a piece of classical music. One does already exist on this more advanced lesson for Georgia – – look in the downloads section. Yes I can certainly create a transcription for you if it would be helpful. Check out the our beginner course Bluesy Stride Piano For Beginners for a step-by-step series of lessons where we arrange the entire tune. This lesson provides an introduction to reading lead sheets using the tune “Georgia”. Having an understanding of F major diatonic harmony is very useful when arranging Georgia and other tunes written in F major. The notation can be found in the Downloads section below. Georgia is written in the key of F Major and so we quick recap of the diatonic 7th chords and the common chord progressions in the key of F such as the 251 and the 36251 progressions. The 3rd and 7th can be played in either hand, often this role will be shared between both hands to achieve an even spread of notes on the piano and balanced sound in our voicings. To construct a spread voicing, we take the notes of the any 7th chord, we play the root note of the chord in our left hand in the lower registers of the piano, we play the melody with our right hand, and we ‘voice’ the 3rd and 7th of the chord in between. The most basic technique to arrange a lead sheets is to use spread voicings. In this lesson we will learn how to arrange the A Section of the tune using spread voicings. Welcome to this beginner jazz piano tutorial on the tune “Georgia On My Mind”.
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