Advanced 251s & Slash Chord Voicings
Welcome to this lesson on advanced 251s and slash chord movements to enhance the harmony of the first line of the 12 bar blues. These voicings add a rich layer of harmonic complexity and provide a fresh take on the basic 1 to 4 chord changes:
Some of these concepts can be tricky to execute, especially if you have smaller hands as they often require large 10th interval stretches. Don’t be discouraged if this feels difficult at first — consistent practice will make these voicings easier to play and the movements more comfortable and fluid.
9th Voicings, Grace Notes, & Upper Structure Triads
A key ingredient of these advanced voicings is the use of 9th chords and taregting the 9th in the melody. When playing these reharmonisations, we can add extra texture by incorporating triad shapes in both hands. In the following example the left hand plays a G- triad voiced over a 10th interval and the G- triad also features as part of the preceeding C9 chord:
Voicing the G- triad over a 10th in the left hand creates an additional stepping stone between C9 and C7/G. We also use grace notes in both hands to create additional interest and tension within the progression.
Slash Chords & Upper Structure Triads
Slash chords play an important role in these progressions. A common combination is playing G- followed by C7/G in the left hand whilst the right hand plays triad shapes and moving 3rd intervals.
The left hand slash chords not only create a smooth transition but also prepare our hand position to move to the passing chord Gb7 as a half step approach into F7 in bar 2 or bar 5:
In the example above we move from C/G– to C9/G and the Gb7 passing chord can be played as a 13 chord or even embellished further with an upper structure triad for added tension. The key to mastering these transitions is to practice them slowly and get comfortable with the larger intervals in the left hand.
Related Lessons
In this lesson we apply the I-VI-II-V progression to the turnaround section using a selection of meaty New Orleans style chord voicings.
In this lessons we will explore some important right hand principles and techniques to create that authentic New Orlean piano sound.
Elsewhere in the world, the blues is generally heard in the 12 bar format. Here in New Orleans it is most often played in the 8 bar form.
Practice Tips
-
Mistakes Don’t be afraid to make mistakes as you experiment with these concepts—sometimes what you perceive as an error can add to the raw, gritty style of blues music.
-
Slash Chords: Introduce slash chords such as C7/G to transition smoothly between the primary chords in the blues.
-
Grace Notes: Add grace notes in both hands to create texture and additional tension and release in your playing.
-
Tension and Resolution: Create moments of tension with passing chords such as the G7#5 half way through the 3rd bar, and then resolve smoothly back into the tonic.
