So now let's work on triads and
seventh chords in the minor keys.
So be aware if you're not already that
there are four different minor scales,
natural, harmonic, melodic and Dorian
minor as far as triads are concerned.
Again, the root, the third, the fifth and
the octave, the root again on top.
Those are all gonna be the same
no matter what minor scale it
is corresponding with or
what minor chord you're playing over.
So because the root, obviously,
the first note is the same.
All minor scales have a minor third,
so that's the same.
All minor scales have a natural fifth,
that's gonna be the same.
And the root again, obviously, on top is
the same as the root from the beginning.
So what you have before
you if you've printed
out your PDFs is this lovely
minor triad sheet and
the minor seventh sheet chord
sheet as well, so check these out.
Once again as a reminder,
if you're playing an E flat instrument,
alto or bari.
You start at the beginning, if you're
playing along with me on these guys.
And if you're playing tenor or soprano,
you wanna start on the F minor,
the second bar.
And that way,
they'll be playing in unison.
So yeah, it's very self-explanatory.
It is in all 12 keys and so that there
in lies the challenge, if you will.
But again, playing in every key whenever
possible is super duper beneficial.
That's the whole point of practicing.
Just do, hit those things,
so that when you put them
into a real music life experience scenario
that you're gonna be ready for it.
So minor triads, so
let's play them together.
I'll count us off four beats and
off we go.
One, two, ready.
Those are a little trickier,
obviously, than the major scales are.
Simply because if you're like me,
you're probably a lot more used to playing
major scales at the point where you're
playing now, then you are minor scales.
So just again,
understand that these are the components,
the backbone of all these
different minor scales.
And so if you practice any minor scale,
you've played these arpeggios,
these triads without realizing it.
So but from a theory standpoint,
it is really
important to know where
those backbone notes lie.
the heart of each of those minor chords.
So worth learning,
certainly worth learning in every key and
certainly worth playing
along with me right now.
So let's do it again, I'm gonna
slow it down ever so slightly, so
that it's a little bit easier to play.
So here we go, these are the minor triads.
Again, E flats start from the beginning.
B flat folks, start on the second bar.
One, two, ready, go.
So, I'm counting them off twice as fast.
It's actually one and
two and three and four.
I'm sure you figured that out,
so the point is to make sure,
again like everything else that
you play them as slow as you
need to play them accurately and
Now we're gonna move on
to the minor seventh chords.
And just as the name suggests,
it's just like the minor triads, but
with that seventh on top.
So, for the point of this exercise,
I've decided to write
the ones that correspond with the minor
scales that have a flat seven.
The Dorian minor and the natural minor.
Harmonic minor and
melodic minor have a major sevens.
But that would be a study for
But anyway, so our arpeggio on these guys
have the flat third and the flat seventh.
So it's a little bit different,
minor chords are super duper common.
So to know all these
different seventh chord
arpeggios in every key
is erratically crucial.
It's like earth-shatteringly important.
So here we go,
I'm gonna play them nice and slow.
And enjoy practicing these along with me.
To reiterate if your playing alto or
all the E-flat people start
from the beginning and
tenor and soprano your going to start on
the second bar, on the F-minor seven.
Here we go,
one and two and
three and four.
Be aware as I'm reading through
this that on the A flat
minor seventh chord in that
fifth bar in the exercise.
That second note is a C flat.
That is definitely correct,
I could have written that as a B natural,
a note that you more commonly see,
>> Of the third on a minor chord is gonna
be a flat note, so it's actually better,
I hate seeing very
uncommon notes like that.
C flats or F flats, but in this case it
really is more theoretically correct,
so it's good for you to see those.
Also kind of like everything else, when
you're practicing, that's why we practice,
to get used to things that we're
not used to playing or seeing.
So here you go, here's a great example.
[LAUGH] Hopefully you don't
come across too many C flats.
So lets play it together
one more time all right.
You can follow along if you're not
quite ready, but practice it and
get to the point hopefully where you will.
Okay, here we go.
One and two and ready go.
Our minor seventh chords.
Hope you enjoyed that.
We'll be rocking some more here, and
as soon as you want to check out more,
as soon as you're ready for some more
exercises, we got plenty for you.
See you in a bit.