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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
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Jazz & More Guitar Lessons: 2-5-1 Minor

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Jazz Basics, 2-5-1 Minor.
Another subject that I haven't
really been addressing in the past
here on this site is the 2-5-1
progression in minor instead of major.
And, for instance,
if we got the key of C minor.
The two chord would be D minor 7 flat 5.
The five chord would be G7.
And the minor chord would be C minor,
or C minor 7.
And the G7 of course
would be like, flat 9,
or sharp 5, or sharp 9.
Alt, altered chord.
the most typical one is probably just G7,
or G7 flat 9.
So, you have a few different options,
the most basic thing would do to just
use the Locrian scale here on this one.
A D, D,
E Flat, F, G.
A flat, B flat, C, and D.
So like a flat 9, a flat 5, flat 6.
And then for the G chord,
actually you just change one note.
Exchange that
B flat into a B natural.
So that makes it a G Mixo flat 2 flat 6.
You could also use G super locrian,
or altered.
It's a different sound but,
this is a pretty cool sound that's.
And then for the.
Tonic chord C minor.
The natural scale,
scale choice would be Aeolian.
Flat 6.
But there are other options.
For instance here for the first chord,
you could actually go.
use that B natural already at that point.
And why does that work?
Well, then we would consider
this a second, I mean, the,
the two chord as borrowed from C.
Harmonic minor in the second
step would be Dorian natural 6.
I'm sorry,
Locrian natural 6 of course, sorry.
Same notes as G Mixo flat 2 flat 6.
Also part of C harmonic minor.
The fifth step.
And then you've got the tonic chord.
C harmonic major, minor.
Like an Aeolian scale with a major 7.
So then you can by it,
basically use the same scale for
all these three chords if you like.
But somehow, like,
most of the time I prefer to
start with the Locrian scale.
And save that note, the B, for
the, for the dominant.
That really, that's what really
makes it sound like a dominant.
That major 3rd.
And then for the third chord you can.
Sometimes I like to stay on that.
Major 7.
To make it into a harmonic minor scale.
Or else you could actually,
for the first chord's rhythm.
Two chord use
You could use the Locrian natural 9.
It's not as common but you could.
And then go into.
Either the Mixo flat 2 flat 6.
Or the altered.
That would be even more natural.
'Cause then those scales
are part of a melodic minor.
This would be the same set of notes as F
melodic minor.
this would be the same set of
notes as A flat melodic minor.
To do the G alternated of super Locrian.
And this would be of
course C melodic A minor.
If you wanna do the melodic minor thing.
With a natural 6 and major 7.
So those are a few options.
I can play around just a little
bit to hear what this sounds like.
One, two.
One, two, three, four.
Some of chromatics.
There you have a few options actually.
Now I went almost into that
kind of a Gypsy territory,
I was using the diminished arpeggio.
For the G7, that's possible too.
G sharp, B, D, or F diminished.
But those were a few options.
Either just Locrian.
Mixo flat 2 flat 6.
Aeolian or Locrian natural 6.
Mixo flat 2 flat 6.
And harmonic minor.
Or Locrian natural 9.
Al, G altered super Locrian.
C, melodic minor.
So those were a few devices.
It's good to know them all.
So check it out, and
upload a video if you like,
when you're practicing this,
on this subject.
It's good to know, be able to be familiar
with both 2-5-1s and major and minor.
It's, it's different.
But it's both of them are very common.
Especially in, in standard songs
with standard chord progression.