A big part of what I'm trying to do here
as we study our different chord types and
how we play on them,
is get you quickly to where
you can play on any standard, basically.
Somebody can put a chart in front of you.
You'll know what all these chords are.
And you'll have a great way to go on them,
or several great ways to go on them.
We've looked at a major chord.
We've looked at a minor chord.
We've looked at a regular seventh
chord with the natural extension.
We've looked at a seven chord with
an altered extensions, and the one thing
we're missing that you're gonna see all
time, is the minor seven flat five chord
which is, essentially,
it's just exactly what it sounds like.
It's the minor seven.
There's our minor seven.
One, flat three, G is the five,
the B-flat is the seven.
Minor seven, flat five.
Just take that down there.
Now, this chord isn't something that
you often see people sitting on.
It's, you don't see blow for five minutes
on a minor seven flat five chord.
What it is it's the precursor
to the altered seven really.
This is a minor sequence here.
The truth is that people just go,
as you become more sophisticated,
you just go wherever you hear.
I might see this cadence, and
I recognize that they're telling me,
do a two five to B flat minor,
but I'm just as likely to go.
And that's, you know,
a dominant chord with a sharp eleven.
But we need to know what to
do when we see this chord.
The minor seven flat five.
And the cool thing about it, is that we
don't really learn any new scales here.
What we do is we use the minor bop scale,
from the third.
Look what that puts on the beat.
Puts the E flat,
the G flat,
the B flat, and the C.
Those are exactly the chord
tones of the chord.
And it sounds really great and in synch.
as simple as that.
Once you have your minor bop
scales under your fingers, and
we have those now in a number of keys,
again there's a PDF of these in every key,
fingered the way that I would finger them.
It makes it pretty easy
to just rip this off.
That was kind of
a strange hybrid scale there.
But that's cool.
If you can think of something on the fly.
And that's our look at the minor
seven flat five chord.
I'm gonna put up our two five one track
here, and I'm gonna treat these,
the bass isn't quite playing this,
but it's close enough.
gonna hear [SOUND].
It's gonna do that a little bit but
it's good enough to practice these on.
[SOUND] Let's do 2, 5 to 1.
And let's treat this as
the minor 7 flat 5 chord.
[SOUND] For now let's just voice it
when we're covering the harmony.
Let's just play the 3 the 5 or
rather the flat 5 the 7 and the 3.
And there's one of our altered voicings.
I'll go with this one since that's
the one we've been studying.
And then let's go to a minor chord here.
Let's see what happens.
Two, one, two, three, four.
Bop scale with
a turnaround using one
of our approach patterns
to a chord tone on the F,
let's play a little
variant on that.
There I approached and we got a weird
little piece of tension there,
that's kinda cool.
Just approaching another chord tone
What I'm doing right
in there is I'm using,
as I would if I were playing
on a E flat minor chord,
I'm using our A flat seven
box scale coming down,
it doesn't give you that
nice tension on it but
it gives you half step
resolution all the way down.
And then, as I got into the F chord,
our F altered chord,
I just kinda switched in that scale.
Let's do it to B flat major for a second.
That's a great
way to practice there.
A little fragment, a five note fragment
of our bop scale, take a breath,
get your bearings together and
then continue on with the next chord.
Let's do some approach patterns
to our new minor seven flat five.
do that well.
Minor major seven,
we're gonna get to
action as usual.
That's the cheapest notes you can get
right there is altering things up
a little bit chromatically.
Let's look at some more of that kinda,
again, almost it's like you get them with
ten gallon of shell,
just having fun with chromatics.
Approach at a chord tone or an extension
chromatically, let's go from below.
we would work.
It's the same idea as we've been doing.
Make it musical by working
it into a play along track.
And we do, maybe we start with
the metronome, let's say.
Approaching the root and
the fifth and
varying up the approach patterns.
Which to me, engages just the right amount
of our improvising brain in our exercises.
It works our fingering on the fly and so
forth, we've talked about that before.
Then do it to the third and the seventh
You can sit on the minor modal track
while you practice these also.
And get that going.
Get that under your fingers.
It's a really nice little color to
throw in there because often in a tune.
I was gonna look at a song for
a second here.
A little tune called Bluesette.
And right in
the beginning of that,
that's in three four.
We have a nice.
Really nicely executed thing building up
This is by Toots Thielmann,
the great harmonica player.
And that would be
an altered dominant chord.
There's our two five to a minor chord,
including the minor seventh flat five.
Another one, a classic one,
is Stella by Starlight.
There's that color again,
our minor seventh flat five.
But then he surprises us by instead of
by going to the one minor we go down and
we're modulating around.
But you see it around and
it gives you a different way to play.
G minor seven, or G minor bop scale.
Using that on our E minor
seven flat five chord.
We end up here on our
A altered seventh chord.
And we've got a wealth of
resources there to go with.
Practices get this burned
under your fingers.
And we now have all the major chord types.
That you're likely to see in a standard
tune, almost anything in the real book.
We're gonna cover a couple
more as we go forward, but
they're stunt chords if you will.
Minor major seven is
a classic jazz voicing.
This Harlem Nocturne is
all over this kinda thing.
And there are maybe one or two more that
you're gonna see them in a chart and
you should kinda know
what the thinking is.
But this will get you through 90% of it.