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Rhythmic & Chordal Playing
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Cello Lessons: Chord Relationship: V7b9 - I (Minor Circle of 5ths)

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The relationship of five
to one is just as
important in a minor key.
We already just learn the scale and
sound associated with the five
chord in a minor key.
Let me show you the arpeggio
associated with a five seven flat nine.
In the key of C, the five chord is G.
So we're gonna have a dominant
seven [SOUND] sound.
Plus a flat nine, which is A flat.
[SOUND] Now the flat nine is also another
name for the second scale degree.
Whenever we've talked
about chord extensions,
if you add seven to the scale degree,
that's what the extension becomes.
And that's just the math of an octave.
So the second scale degree
is referred to as a ninth.
When we're talking about chords.
And if you have a lowered
second scale degree,
the flat two, in a chord you
would refer to it as a flat nine.
In G, flat nine is A flat.
So the G seven flat nine
arpeggio again
sounds like that.
So you know the minor seven arpeggio.
And C minor.
So, if I was gonna play five to one
in C minor it would sound like this.
Now we wanna take
this relationship, and
we wanna practice it in all 12 keys.
So again, we're gonna go
around the circle of fifths.
If you spent enough time
in the major 251's,
you should be comfortable by
now with the order of the keys.
Which one comes after C?
That's correct.
It's F.
Five [SOUND] steps down from C is F.
So let me play, actually,
the first three keys so
you hear how this routine's gonna work.
I'll do C, F, and
then the next one is B flat.
Then I'll do five seven flat
nine to one in each key.
Starting on a G five seven flat nine.
Now the minor
becomes the five,
and again, a minor becomes the five.
And so on, that's how we're gonna
practice this relationship.
I'm gonna do it with the metronome
on two and four again.
Four one two three
four one two C minor.
In addition to practicing these
arpeggios up from the root,
we also want to practice
them down from the roots.
In this relationship, the five seven flat
nine to one in C minor
would sound like this.
We still wanna show the flat
nine at the bottom of that arpeggio.
You wanna do all the permutations of
these arpeggios, starting from the root,
the third, the fifth, and the seventh.
All the chord tones and you wanna start up
and you also wanna practice starting down.
The whole idea of this is that every
time you see a five seven flat
nine to one progression in
a tune that like eight different
possibilities flash into your head.
If you only practice this arpeggiating
up from the root, then that's gonna
be the only real way that you're
gonna be able to access this harmony.
So you wanna be able to explore all
the different ways to express these two