Easy triads over a minor 2-5-1
Minor 2-5-1 progressions can be tougher to solo over than their major counterparts, but here's a strategy to spell out the changes using just two minor triads a half step apart. This is a follow up from another post I've written about to use two augmented triads a half step apart to solo over the same changes.
This example shows a minor 2-5-1 in Dm7. Over the Em7b5 you can play an A minor triad, A being the fourth degree of E locrian. Over the A7alt you can play an Bbm triad, the first degree of the Bb melodic minor scale (equivalent to A altered scale). Over the Dm7 you can go back to the Am triad, which is starting from the 5th degree of D dorian.
You cold also play a line that is identical or very similar (rhythmically, harmonically, or both) over the two triads, which adds interest because the two phrases have commonalities despite very different harmonic applications.
There you have it, a super easy strategy to play over a minor 2-5-1 using two basic triads you already know.
This example shows a minor 2-5-1 in Dm7. Over the Em7b5 you can play an A minor triad, A being the fourth degree of E locrian. Over the A7alt you can play an Bbm triad, the first degree of the Bb melodic minor scale (equivalent to A altered scale). Over the Dm7 you can go back to the Am triad, which is starting from the 5th degree of D dorian.
You cold also play a line that is identical or very similar (rhythmically, harmonically, or both) over the two triads, which adds interest because the two phrases have commonalities despite very different harmonic applications.
There you have it, a super easy strategy to play over a minor 2-5-1 using two basic triads you already know.
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