Minor 251 Improvisation Drills
For practice slot 5, we will be exploring similar drills and exercises covered in slot 4, but this time we will be applying the drills to the minor 251 progression.
We will also be mixing and matching the 251 voicing variations that we covered in practice slot 3.
Chord Tone & Arpeggio-Based Line
We start by introducing another simple line based on chord tones and arpeggios. We then apply this to the minor 251 in all 12 keys.
The simple line walks up ii-7b5 arpeggio, then follows the guide tone into the 3rd of V7 chord. We then move up a rootless V7b9 arpeggio – or diminished chord – which resolves by falling from the b9 of the V7 chord into the 5th of the I-7 chord.
We can develop the phrase further over the I-7 chord to add in the major 7th which creates an interesting melodic minor flavour
The Relative Major/Minor Connection
Every major key has a relative minor key. For example, the key of C Major and A Minor are relative. This means that any line or melody that we play over a 251 progression in C Major, will also work well over a 251 progression in A Minor.
We demonstrate some examples of this and how you can use this information to get more mileage and use out of your transcribed melodies.
Weekly Transcription Exercises
It’s important that we are transcribing material from records and applying it to our playing. This is how we develop our ‘own sound’ when playing jazz piano.
If you are new to transcription, check out the weekly improvisation and transcription exercises in the PianoGroove Community area.
Lesson Downloads
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Rootless Voicings Practice Planner File Type: pdf
Related Lessons
In this lesson, we explore the minor 25, and how to use our chosen melody over any minor 25 progressions and also the tune we are studying.
Before we start to use the chosen melody as a tool for improvising, you must play through all 12 keys with simple voicings in your left hand.
There are three types of minor scale: the natural minor, harmonic minor, and melodic minor. Each one has a different use & application in jazz.
Practice Tips
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Alternate your minor 251 voicings to play in the 'sweet spot' of the piano which is right around middle C for rootless voicings.
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Start by learning the simple chord tone arpeggio line and then experiment with developing and extending the melody over the 1 chord.
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Try to visualise the diminished chord built off the 3rd of each dominant chord. This gives you the b9 colour of the V7 chord in any minor 251 progression.
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Experiment with the relative major/minor connection. Apply your major 251 lines over the relative minor harmony.
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Learn to transcribe your own lines with the weekly improvisation and transcription exercises in the forum.
- These exercises will train your ears so that you can pick up new melodic material directly from your favourite recordings.
