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Advanced Left Hand Minor 251s Lesson Supplement www.pianogroove.com
Recap on Previous Minor 251 Voicings
• Here is a 251 in C Minor.
• Take the 2 chord into it’s first inversion and then move the top 2 notes a half
step in opposite directions to get to the 5 chord (#5-‐b9) alterations
• Resolve down to Type A rootless voicing for Bb-‐7
• This is the same 251 in C Minor.
• This time we start on the 2 chord in it’s 3rd inversion and move the bottom 2
notes a half step in opposite directions to get to the 5 chord (#5-‐b9)
alterations
• Resolve down to Type B rootless voicing for Bb-‐7
• The above 2 progressions are the easiest minor 251 voicings so learn these in
all 12 keys before looking at the examples covered later in this lesson.
Turn the 2 Chord into a C-‐11b5 Chord
• In the first lessons on the Minor 251, we always voiced the 2 chord with the
Root, b3, b5 and b7.
• If we replace the b3 with the 11, we get a -‐11b5 chord for the 2 chord.
• We can use this voicing to build new left hand 251 progressions in minor
keys.
2
Let’s Do the Same with G-‐7b5
• The 11 is always a half step below the b5.
• Try this for G-‐7b5 as in the example above.
• Pick a few keys and try to find the same -‐11b5 voicing.
A Useful Minor Third Relationship
• Here is a 251 in Bb Minor using a C-‐11b5 chord as the 2 chord
• If we move every note of the 2 chord up a minor 3rd interval, we get F7 #5#9
• We can then resolve down to a Type A rootless voicing for Bb Minor.
• In any minor 25 progression, we can move all notes in the 2 chord up a minor
3rd to get to a suitable voicing for the 5 chord.
Play both #9 & b9 extension on the 5 chord
• You are not restricted to one voicing for the 5 chord.
• Above we play both in F7#5#9 and F7#5b9 in close succession to add extra
movement over the dominant 5 chord.
• This resolves again to a Type A rootless voicing for Bb Minor
3
Practice this new Minor 251 Around The Circle of Fifths
251 C Minor:
251 F Minor:
Practice this new Minor 251 Chromatically
251 Db/C# Minor:
251 D Minor:
4
The Minor 3rd Relationship also Applies to Upper Structures
• Here we have voiced an E-‐11b5 chord by playing the Root and b5 in our left
hand and a major triad a whole step below the root in the right hand.
• Move everything up a minor 3rd and we get A7#5#9 (major triad built from
#5/b13).
• We can then resolve down to a voicing for D-‐7.
Inverting the C-‐11b5 Chord
• Take the C-‐11b5 voicing up into it’s second inversion
• This voicing may look familiar….
• This voicing can also function as ‘Ab7’ or an altered dominant a tritone away
‘D7#5#9’ (Ab and D are a triton apart)
• These 3 chords all come from the same melodic minor scale (Eb Melodic
Minor) and so the voicings for these chords are interchangeable.
• This will be covered in more detail in future lessons.
• These inversions can be used interchangeably for C-‐11b5, Ab7 & D7#5#9
5
A 251 in Bb Minor Starting with the 2nd Inversion of the C-‐11b5
• Take the C-‐11b5 voicing up into it’s second inversion
• We then move the middle 2 notes a half step in opposite directions and the
top note falls by a whole step
• This formula takes us to the 5 chord with b9#5 alterations.
• We can then drop down to a Type B Rootless Voicing for Bb Minor
• One of the interesting things about this progression is that 3 of the 4 notes in
the 5 chord move up to resolve to the 1 chord.
• These 251 voicings are challenging so learn them in sets of 3 or 4 so you are
not overwhelmed with information.
Practicing This Variation Around The Circle Of Fifths
251 in C Minor
251 in C Minor
Continue Around The Circle Of Fifths…..
• Try to learn these progressions without notation, just using the formula.
• This will give you a deeper understanding of the movement and help you.
learn and memorise the dominant extensions and alterations in all 12 keys.