Triad Improvisation Over Major 251s
In this lesson we continue to explore the triad improvisation principle over the major 251 progression and the major 2516 progression.
An interesting ‘flavour’ to add over dominant chords is the b9 colour. Over any dominant chord, we can superimpose a major triad build from the 6th/13th degree of the scale which gives us the 13, the b9, and the 3.
We can use this triad as a basis to construct colourful improvised melodies over dominant chords.
Utilising Chromaticism
When playing over 251s, we can utilise chromaticism to add colour, tension, and interesting inner voice movement to our progressions.
In this lesson, Jovino explores and demonstrates chromatic movement using the altered tones b9, #9, #11, and b13, all in context of the major 251 and major 2516 progressions.
Lesson Downloads
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Major 251s Improv Lesson Notation File Type: pdf
Related Lessons
We can also achieve some really interesting sounds by applying upper structure triad theory to both major and minor chords.
In a minor 251, the 5 chord will be an altered dominant chord. In this lesson we apply altered dominant chords to the major 251 progression.
Upper structure triads are complex sounding altered dominant chords. They will add texture and sophistication to your playing.
Practice Tips
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Explore the different triad options over each chord in the major 251.
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Experiment with chromaticism to accentuate the altered tensions, colours, and flavours within the harmony.
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Extend the 251 progression to become a 2516 progression by adding a dominant chord built from the 6th degree of the scale.
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This creates a 'circular progression' where the 6 dominant (VI7) leads us back to the 2 minor chord to start the progression again.
