So we've talked about
a lot of chord movement.
The last piece of that puzzle
that I'd like to get into before
we get into a bunch of playing and
Is that we do have minor keys also.
We've talked exclusively
about major keys so
far, but we have to talk about minor keys
because they're a big part of jazz and
a big part of music in general.
The basic thing I wanna talk about in
minor key, progressions right now,
it's just the two five.
Because it's a little bit different
than the two five one in major keys.
The movement in the bass
is exactly the same.
But the type of chord that
is above it is different.
Because of the key it's in.
So what I'd like to do, hm,
I'd like to talk about relative minor
because that'll help us understand the
cord structure of the minor two five one.
So, I want to end up
in the key of C minor.
We're going to do a little
backwards detective work.
So C minor is the relative minor
of a major key not the key of A,
I mean A major key, a major key.
And what it is,
is what I want to discover.
the relative minors I mentioned before,
many times is, the sixth chord
so, all we have to do is figure out what
s, what key is C minor, the sixth
chord of, a little detective work.
Well, let's count down.
One, two, three, four, five, six.
I'll start up here so
you can really see it on one string.
It takes me back to E-flat.
So that's our detective work.
We've done a little forensic work.
C is the relative minor of E-flat major.
There it is, C minor seven, okay?
So, if that's the case, and
we look at the chords, the seventh chords
built above each note of, of the scale,
just like the modes,
if we start the E-flat major scale.
On C, we played through C.
We'll get a sequence of chords,
that are basically the same chords but
they have a different order, because now
we're starting from C instead of E-flat.
So when we're in the relative minor key,
in C minor instead of E-flat major,
same chords, C becomes one chord,
C minor seven becomes the one
chord in this new minor key.
It's not E-flat major anymore.
It's C minor, the relative minor.
So make sure you're
hanging in with this concept.
So we're learning about minor keys.
I've told you that the relative
minor is the six chord,
and we've deciphered that, for
example in C minor you're coming from
the key of E-flat because C minor
is the sixth cord in that key.
So if I do the same E-flat
cords starting from C minor.
The two cord is a minor seven flat five.
Which, in parentheses was the seven
chord in the key of E-flat,
its relative major key.
You follow that logic?
let's go backwards down to the six
seven minor seven five
six minor seven, relative minor key.
So in this new tonal center, where C
minor is the center of our minor key,
and becomes the one chord.
The naturally occurring two
is a minor seven five five chord.
It sounds really cool.
Now, let's talk about the five of that.
We're going to use our five,
seven of theory, that we just
spent a lot of time talking about.
We're going to go back to that.
And five, seven of six,
if you refresh your memory, that was you,
you went up five notes,
from the note that's your target note.
And figure out, okay, I need a G and
it's gotta be a dominant seven because
the five, seven of whatever chord you're
playing, in this case six, five, seven of
six needs to be the dominant seven of six
so the chord has to be a dominant seven.
it's a G
so the five chord of, yet,
C minor is G seven.
I love that sound.
So, the two five, if we know the two chord
is a minor seven flat five, and the five
seven chord is a dominant of course,
you've got your two five in a minor key.
I'll just play it a few times.
D minor seven flat five.
C minor seven.
One more time.
Please grab your guitars and
play this along with me.
I'll play it up here this time.
And then last time
Slide it around a little bit.
And slide it down a half step and
up, it sounds cool.
So there's your two, five.
The, you know,
two five one in a minor key.
It's two minor seven flat five,
that because it's a long chord to say.
It's always going to be
a minor seven flat five.
So D minor seven flat five to G seven,
to C minor.
Now, let's get into using this.
This is a really cool thing to play on.
I have a play along track with John
Pattatucci, Andy Ezran, and Brian Dunn.
It sounds great.
It's a bossa nova version of the great
Kenny Durham song Blue Bossa.
We used it once before.
In another example.
Let's use it now,
it's really cool to play on.
I'll play over it once giving you some
examples of what I might do on it.
And and then you take, go to town with it,
it's a lot of fun to play on, here we go.