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.
Rootless Voicings Practice Planner File Type: pdf