Minor 251 Progression Left Hand Voicings
In this lesson we are going to look at some alternative ways to voice minor 251s with our left hand. I have used these voicings in numerous jazz standard tutorials and so now it’s time for a dedicated lesson so you understand the theory and how to construct these voicings.
In the introduction lesson to the minor 251, we looked at two variations for voicing minor 251s in our left hand. To start the progression, we voiced the II chord – which is a -7b5 chord — in it’s 1st or 3rd inversion.
Depending on which inversion we chose, we moved either the top 2 notes or the bottom 2 notes by half steps in opposite directions to get to the 5 chord with b9 #5 alterations and then dropped down to a Type A or Type B rootless voicing for the I chord.
Advanced Minor 251 Supplement File Type: pdf
Before attempting to learn this type of minor 251 voicings, you should be comfortable with the basic minor 251 where we start in the 1st and 3rd inversions of the -7b5 chord.
Once you have a good understanding of that progression, you will feel more comfortable identifying the altered tones and extensions which will help with your understanding of these advanced voicings options and variations.
Hello. Nice video!
On the 5th page, under the “practicing this variation around the circle of fifths, 251 in C minor, it is written: G7 (#9 #5).
Could it be G7 (b9 #5).
The last 251 in C minor, do you mean in F minor ?
Also it is written C7 (#9 #5).
Could it be C7 (b9 #5)
Thanks glad you enjoyed the lesson 🙂
Yes that’s right, in those examples we include the alterations b9 and #5… well spotted! It’s good that you are taking time to analyse the extensions. I’ve updated the chord symbols in the PDF file.
It’s worth noting that you have a lot of freedom with mixing alterations over altered dominant chords. A nice combination is to play the #9 and then fall to the b9. This adds internal voice movement into the chord which sounds great.
Whenever you see #9, b9 and/or #5 in a chord symbol, you have the creative freedom to choose which alterations to play. This also applies to the chord symbol “alt” where you have the choice of which alterations to include.
You didnt mention if we need to practice this chord whit type A type B like we did until now.taking the 2 bellow note and put the forward.so,do we need to do that?(plz tell me we dont-too much chord to memorize haha)
So I have a question – I have only just started to learn left-handed (rootless) voicings and been practicing them constantly both types in major and minor ii-V-Is for the past 10 days or so – man, they take a long time to get slick! I’m still at the stage (especially with the type A voicings) where I’m walking down the notes as I resolve to the tonic while I play (I need to start using the iReal Player practice sessions for them but I’m too scared to!). I am wondering when I’m going to use the rootless voicings. I often when making my own songs will make a melodic bassline perhaps using pentatonic tones rather than chord roots in the bass. I have been surprised how much my ears fill in the roots as I’ve been learning the rootless voicings, and how I can focus on the individual chord tones without the roots – awesome. But I do like the grounded sound of rooted voicings, especially like I say if my bassline isn’t following the chord roots only. So what should I do with them? And how to combine them with rooted voicings? I guess it depends what you want to create, but – I’m stuck!