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Recap
on
Previous
Minor
251
Voicings
• Here
is
a
251
in
C
Minor.
• Take
the
2
chord
into
it’s
first
inversion
and
then
move
the
top
2
notes
a
half
step
in
opposite
directions
to
get
to
the
5
chord
(#5-‐b9)
alterations
• Resolve
down
to
Type
A
rootless
voicing
for
Bb-‐7
• This
is
the
same
251
in
C
Minor.
• This
time
we
start
on
the
2
chord
in
it’s
3rd
inversion
and
move
the
bottom
2
notes
a
half
step
in
opposite
directions
to
get
to
the
5
chord
(#5-‐b9)
alterations
• Resolve
down
to
Type
B
rootless
voicing
for
Bb-‐7
• The
above
2
progressions
are
the
easiest
minor
251
voicings
so
learn
these
in
all
12
keys
before
looking
at
the
examples
covered
later
in
this
lesson.
Turn
the
2
Chord
into
a
C-‐11b5
Chord
• In
the
first
lessons
on
the
Minor
251,
we
always
voiced
the
2
chord
with
the
Root,
b3,
b5
and
b7.
• If
we
replace
the
b3
with
the
11,
we
get
a
-‐11b5
chord
for
the
2
chord.
• We
can
use
this
voicing
to
build
new
left
hand
251
progressions
in
minor
keys.
Let’s
Do
the
Same
with
G-‐7b5
• The
11
is
always
a
half
step
below
the
b5.
• Try
this
for
G-‐7b5
as
in
the
example
above.
• Pick
a
few
keys
and
try
to
find
the
same
-‐11b5
voicing.
A
Useful
Minor
Third
Relationship
• Here
is
a
251
in
Bb
Minor
using
a
C-‐11b5
chord
as
the
2
chord
• If
we
move
every
note
of
the
2
chord
up
a
minor
3rd
interval,
we
get
F7
#5#9
• We
can
then
resolve
down
to
a
Type
A
rootless
voicing
for
Bb
Minor.
• In
any
minor
25
progression,
we
can
move
all
notes
in
the
2
chord
up
a
minor
3rd
to
get
to
a
suitable
voicing
for
the
5
chord.
Play
both
#9
&
b9
extension
on
the
5
chord
• You
are
not
restricted
to
one
voicing
for
the
5
chord.
• Above
we
play
both
in
F7#5#9
and
F7#5b9
in
close
succession
to
add
extra
movement
over
the
dominant
5
chord.
• This
resolves
again
to
a
Type
A
rootless
voicing
for
Bb
Minor
2
Practice
this
new
Minor
251
Around
The
Circle
of
Fifths
251
C
Minor:
251
F
Minor:
Practice
this
new
Minor
251
Chromatically
251
Db/C#
Minor:
251
D
Minor:
3
The
Minor
3rd
Relationship
also
Applies
to
Upper
Structures
• Here
we
have
voiced
an
E-‐11b5
chord
by
playing
the
Root
and
b5
in
our
left
hand
and
a
major
triad
a
whole
step
below
the
root
in
the
right
hand.
• Move
everything
up
a
minor
3rd
and
we
get
A7#5#9
(major
triad
built
from
#5/b13).
• We
can
then
resolve
down
to
a
voicing
for
D-‐7.
Inverting
the
C-‐11b5
Chord
4
A
251
in
Bb
Minor
Starting
with
the
2nd
Inversion
of
the
C-‐11b5
• Take
the
C-‐11b5
voicing
up
into
it’s
second
inversion
• We
then
move
the
middle
2
notes
a
half
step
in
opposite
directions
and
the
top
note
falls
by
a
whole
step
• This
formula
takes
us
to
the
5
chord
with
b9#5
alterations.
• We
can
then
drop
down
to
a
Type
B
Rootless
Voicing
for
Bb
Minor
• One
of
the
interesting
things
about
this
progression
is
that
3
of
the
4
notes
in
the
5
chord
move
up
to
resolve
to
the
1
chord.
• These
251
voicings
are
challenging
so
learn
them
in
sets
of
3
or
4
so
you
are
not
overwhelmed
with
information.
Practicing
This
Variation
Around
The
Circle
Of
Fifths
251
in
C
Minor
251
in
C
Minor
Continue
Around
The
Circle
Of
Fifths…..
• Try
to
learn
these
progressions
without
notation,
just
using
the
formula.
• This
will
give
you
a
deeper
understanding
of
the
movement
and
help
you.
learn
and
memorise
the
dominant
extensions
and
alterations
in
all
12
keys.
5