V-I in A Minor with a b9
With
Ollie WestonOllie Weston demonstrates a V-I cadence in A minor, using the harmonic minor scale and a b9 over the E7 to build tension that resolves into the A minor.
What's in the course
47 lessons (1h 47m) · 1 free
01. The V-I 'Perfect' cadence
3:28
02. Dominant 7 - Cycle of 5ths exercise
1:24
03. Dominant 7 - Cycle of 5ths using 3rs and 7ths
2:16
04. Rhythmic variations using 3rds and 7ths
2:02
05. "Rhythm Changes" using Dominant 7ths and Cycle of 5ths
1:08
06. The II-V-I progression
1:20
07. II-V-I licks in the style of Parker, Coltrane, Adderley
Free lesson4:15
08. Dancing With Duke (II-V-I exercise) - Introduction
1:15
09. Dancing With Duke (II-V-I exercise) - Performance
4:38
10. II-V-I progression conclusion
0:42
01. Finding the relative minor
1:41
02. Using the Harmonic Minor over the V chord
1:15
03. V-I in A Minor with a b9
You are here4:38
04. Minor V-I in all 12 keys exercise
1:43
05. Phrase for practising minor cadences
1:17
06. Minor II-V-I in a chord sequence
5:04
07. Adding the II chord
1:20
08. Autumn Sun - Introduction and Harmony
3:03
09. Autumn Sun Performance
4:44
01. Introduction to Standards
0:52
02. Among the Stars Introduction
3:54
03. Among the Stars Performance
4:23
04. Undying Love - Expanding a chord sequence
4:42
05. Undying Love - Performance
1:12
06. Undying love - Checkpoint
0:47
07. Take the Express Train - The Turnaround
3:21
08. Melodic line examples for turnarounds
1:22
09. Take the Express Train - Introduction
1:28
10. Take the Express Train - Performance
1:12
11. Take The Express Train - Summary
0:39
01. Introduction to Bebop
1:04
02. 52nd Street Blues - Introduction and Head
0:29
03. 52nd Street Blues - Head using I-IV-V progression
0:45
04. 52nd Street Blues - Adding Chromaticism
2:53
05. Adding Jazz Harmony to the Blues
2:39
06. 52nd Street Blues - Head with II-V-I changes
1:05
07. 52nd Street Blues - Performance
3:01
Lesson transcript
Understanding the Harmonic Minor Scale in Context
To put the harmonic minor scale into context, let's have a listen to a perfect cadence in A minor.
Chord Progression:
- E7 chord resolving down to A minor.
Playing the Chords:
- Here's the E7 and the A minor.
- In playing the root, third, fifth, and seventh of E7, I'm already playing a G sharp.
Our standout note, G sharp, is contained in the chord. This gives you a sense of resolving it to A minor.
Cadence and Tension
By adding a G sharp to my minor scale, I'm creating the familiar tritone interval between the G sharp and the D.
In the same way that we create tension and resolution in a major key, we're doing exactly the same in a minor key by taking advantage of the tension contained within a harmonic minor scale.
Key Points:
- The harmonic minor scale is a great resource for playing over minor cadences.
- The inclusion of G sharp provides the tension and release required for a perfect cadence.
- This scale is excellent for crafting good jazz lines.
A Harmonic Minor Scale Example
Here's an A harmonic minor scale over an E7 to A minor chord progression:
- The only note that doesn't really work for me is actually the A.
- If you play that over the E7 chord, it's almost like giving away the ending before the chord resolves.
To avoid this, I will start on E this time and play the scale, which fits much better with the E7 chord.
How It Should Sound:
- By not starting and finishing on the A, we prevent giving away the resolution of the cadence too early.
Unusual Notes and Modes
There's one other note in our E7 chord that sounds a little unusual.
- In the Mixolydian mode, we would start with an E to F sharp interval.
- However, the harmonic minor starts with a semitone interval, moving from E to F.
The reason for this is that the minor chord can be suggested already over the V chord.
- Having an F sharp and a C sharp from a Mixolydian scale is a bit too bright.
- The harmonic minor gives you that darkness and minor sound needed for the minor key.
Suggesting the Destination
By using the harmonic minor scale, I can suggest that the destination resolution chord is going to be minor.
Here's what E7 with a flattened 9 and an F natural sounds like.
Practice Opportunity
- Get used to playing your harmonic minor scale over V-i chords.
- This practice will really open up the sound of these cadences for you.
47 lessons
1h 47m of structured video lessons
Advanced video features
Slow down, loop a passage, follow along
Mobile, tablet & desktop
Practise wherever you are
100% satisfaction guarantee
30-day money-back guarantee
Meet your guru
Meet your guru
Since graduating from the Leeds College of Music (BA Hons) and the Guildhall School of Music (Post Graduate Diploma in Performance), Ollie has built a busy and varied career in music. As a saxophonist he has performed in live and studio settings with artists as diverse as Amy Winehouse, Tim Minchin, Bonobo, Frank Turner, the London Jazz Orchestra, the Hackney Colliery Band, the Ambient Jazz Ensemble and the Nelson Riddle Orchestra. He is also the co-leader of the jazz quartet 'Time Is Of The Essence', and composes and arranges material for this and other ensembles.
Ollie is active in music education, currently as course leader for the jazz department at the Guildhall School of Music and Drama (junior school), where he runs jazz ensembles, big band and theory classes. He has written a series of 'Exploring Jazz' books for Schott Music that are published worldwide and feature on exam syllabuses in the UK. Ollie has also run workshops for Oxford University, Pro Corda Strings and BABSWE, as well as the Guildhall School of Music summer schools.
In his Exploring Jazz Saxophone courses, Ollie takes you from getting started right through to soloing confidently over songs and chord sequences, building the improvising skills that put a real jazz player's vocabulary at your fingertips.
