Hear and Play Jazz 201: Clip #1

I want to say one more thing before we move on to the other 2-5-1 pattern. If you look at the voicing that we are using, for the Cminor7 it's really a minor9. That voicing, in itself is a root position Eb major7 chord, that you thought major triad with the major7 on top.

So, if you prefer, instead of finding the chords the two ways that we talked about, you can go ahead and just go up a minor 3rd. You want a Cminor7, go up to Eb and play a major7th over the top. It's not going to change where it goes there and then you can use the same concept for a major7th. Go up a major3rd, we are using the Bb major scale, there is the major3rd and you can play a minor7th. There is D minor; there is the low at 7th.

So, we can think one of three ways. I have already covered the two ways or you can think, I am going to go for minor 3rd and play the major 7th over a minor 7th chord. If I say C minor 7th, I go up to 3rd,I play Eb major7th. Resolve that 7, down to the A, which is the 3rd of the F dominant7th and then play a minor7th.

Now this is a lot more relevant when you are playing these chords only in your left hand. C minor7th, go ahead up to Eb, play that major 7th chord, resolve that Bb downward and then back to, we can think of it as D minor7th or the 3-5-7-9 or Bb major7th. There is always a couple ways to do things, if this appeals to you, absolutely, think of things this way.

The last thing I want to mention in this formation, when you are playing this major7th, you do have some options. While playing 3-5-7-9, you can go ahead and use any of the notes in the Bb major scale. If I want to move this 3rd up to the G, that's really just 3-5-6-9, as far as degrees go.

So we can play D, F, A, C, like we have been doing. We also can say that's just the D minor7th, a major 3rd away. We can bring that F up to the G or we can bring that A down to the G. There's not a huge difference between these. Let's go back and bring this A down to the G. So those are the three. Okay. By itself...


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