UST Drills Over Minor 251s
Welcome to slot 6 in this practice series on altered harmony. We use this final slot to drill around minor 251 voicings with the b9#11 and the #5#9 upper structures.
We start by applying these upper structures in context of a few jazz standards so that we can see the end result of working on these exercises. We use the tunes “Autumn Leaves", “Stella By Starlight”, and “You Don’t Know What Love Is”.
b9#11 Minor 251 Drill
For the first drill we play minor 251 voicings similar to the example in “Autumn Leaves” and take it around all 12 minor keys.
We explore the minor 69 sound for the 1 chord and use this as our point of resolution.
Rootless #5#9 Minor 251 Drill
We then explore the #5#9 upper structure and apply to all 12 minor 251 progressions. Using the ii-11b5 voicing we move all the notes up by a minor 3rd interval to get a rootless #5#9 voicing over the V7 chord.
Being able to play and visualise these rootless variations is useful as we demonstrated in the tune “You Don’t Know What Love Is”.
The Connection To The Altered Mode
If we take a closer look at the notes in these 2 upper structures, they encompass all of the alterations over C7. If we add the major 3rd we then have the C altered mode and we can create interesting sounds by combining these upper structures over minor harmony.
For the final drill we combine both the #5#9 and the b9#11 upper structure triads. We alternate the inversions and resolve into the i-69 chord.
Altered Harmony Practice Planner File Type: pdf