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What’s going on, everybody? Peter Martin here for Two Minute Jazz Piano. I want to show you three minor chord voicings that you may not be familiar with that I really like, use a lot, hopefully
you’ll enjoy them, too.
So minor, basic and potentially boring, right? (pleasant piano music) So what can we do?
Here’s the first one. This is a minor 11, just going through chromatically and I really like this voicing. We’ve got the root, the
fifth, the ninth, the third, the seventh and the 11th. It’s a minor 11 chord and there’s things that you can add, you can double the ninth. The 11th’s on top, the root’s on bottom. A lot of different ways to do it, but I love it. I just love that openness of that.
I actually wrote a tune a few years ago in D minor kind of based upon that voicing and that melodic pattern called La Pregunta.
But anyway, it’s just great symmetry, the ninths with the fifths
in there stacked up. So that’s a minor 11 and then the next one is minor but it’s a half diminished and this is something I heard
Herbie Hancock do a lot, especially in that, you know, early 60s period when he was playing with the Miles Davis Quintet.
It’s a half diminished so we’ve got the flatted fifth, the minor third groove, dominant seventh but we’ve got the ninth which is a little bit unusual, so it gives you that A flat minor major seven kind of stacked on top.
Kind of great, great sound there. So half diminished nine
is what I call that one and then the last one we got is another thing inspired by Herbie Hancock which is. And this a diminished,
an F fully diminished because we’ve got the minor third, the minor fifth, we’ve got the major seventh and the ninth.
That’s the kind of Herbie-ism that kinda gives it a different feel. Lot of tension in there, right? And so we got the two minor thirds separated by the perfect fourth and it resolves nice into a major.
And you got a lot of cool stuff happening in there, that E major triad. Alright, three chords for ya, comin’ atcha.
Peace, happy practicing!
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