{"id":10885,"date":"2016-01-03T00:00:00","date_gmt":"2016-01-03T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10885"},"modified":"2024-10-14T20:18:49","modified_gmt":"2024-10-15T04:18:49","slug":"nine-variations-of-the-2-5-1-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/nine-variations-of-the-2-5-1-progression\/","title":{"rendered":"Ninth Day Of Christmas: Nine Variations of the 2-5-1 Chord Progression"},"content":{"rendered":"

The 2-5-1 chord progression contains, what can be argued, the strongest connection between chords in most music styles (like gospel, jazz, etc.). This is because the attraction between two chords is at its strongest when the root ascends by a fourth or descends by a fifth.<\/p>\n

A chord progression from C to another chord whose root is a fourth higher or a fifth lower than C will sound stronger than any other option.<\/p>\n

Using the major scale of C, a fourth above C is F:
\n<\/p>\n

And a fifth below C is still F:
\n<\/p>\n

This means that as far as chord progressions are concerned, of all the notes in the major scale:
\n
\n…the movement from C to F will be the strongest.<\/p>\n

\u201cHey! Why is C to F the strongest?\u201d<\/i><\/b><\/h2>\n

Let’s back up.<\/p>\n

The progression is from C to F.<\/p>\n

However, if you consider this movement from C, it will be much more difficult to understand and this is because between C and F, F is the destination<\/strong> (not C).<\/p>\n

A chord progression from C to F is like taking off in the city<\/a> of C and landing in the city<\/a> of F (our destination). Therefore, let\u2019s take a look at this C to F<\/em> movement from F’s perspective (our destination).<\/p>\n

Looking at the F major scale:
\n<\/p>\n

It is important to note that there\u2019s a C note in its fifth degree.<\/p>\n

If we begin to consider the movement from C to F from F major’s perspective, we\u2019ll understand with utmost clarity that C to F is the movement from the fifth degree<\/strong> to the first degree<\/strong> of the major scale.<\/p>\n

C is the fifth degree while F is the first degree.<\/p>\n

In our eighth day of Christmas post<\/a>, we covered technical names with much emphasis on the fifth degree which is known as the dominant<\/strong>.<\/p>\n

Today, we are covering a progression of chords from the fifth degree to the first degree. If we use technical names to describe this movement, we can say that it\u2019s a movement from the dominant<\/strong> to the tonic<\/strong>.<\/p>\n

(Remember that the terms dominant<\/em> and tonic<\/em> are the technical names<\/a> of the fifth and first degrees of the scale, respectively.)<\/p>\n

Chord progressions that move in this manner have the strongest attraction. To create them, you don’t necessarily have to go to the fifth degree of the scale. You can create them from any note. All you need to do is to ascend in fourths or descend in fifths like we did in the beginning of this lesson when we based our perspective on C major.<\/p>\n

There\u2019s an interval cycle that can help you master this:<\/p>\n

The musical use cases of this cycle is inexhaustible.<\/p>\n

\"circleoffiths1\"<\/p>\n

This cycle can be used clockwise or counter-clockwise. For the purpose of this study, be sure to go counter-clockwise from C to F etc.<\/p>\n

The 2-5-1 Chord Progression<\/b><\/h2>\n

It\u2019s possible to create a chord progression (with the strongest attraction) between three root notes in the same way I created it between two roots (C and F).<\/p>\n

Movement from C using the cycle of ascending fourths (or descending fifths) we learned (in a counter-clockwise direction) will take us to F.<\/p>\n

\"circleoffiths1\"<\/p>\n

If we continue in the same counter-clockwise direction, we\u2019ll have B\u266d<\/span>, a new destination.<\/p>\n

Putting everything together from takeoff<\/em> (C) to destination (B\u266d<\/span>), we\u2019ll have:<\/p>\n

C-F-B\u266d<\/span>
\n\"circleoffiths3\"<\/p>\n

That\u2019s three root notes.<\/p>\n

Now that we\u2019ve connected three root notes, let\u2019s consider this movement in the key of B\u266d<\/span>, which is our destination.<\/p>\n

Remember that it’s better to consider a chord progression from the destination key note.<\/p>\n

Using the major scale of B\u266d<\/span>:
\n<\/p>\n

C is the second<\/b> tone (aka – “chord 2”)<\/p>\n

F is the fifth<\/b> tone (aka – “chord 5”)<\/p>\n

B\u266d<\/span> is first<\/b> tone (aka – “chord 1”)<\/p>\n

Putting it together will yield the famous “2-5-1 progression.”<\/em><\/p>\n

Creating other 2-5-1 progressions is as easy as selecting three adjacent notes in the cycle of fourths\/fifths, which include:<\/p>\n

C-F-B\u266d<\/span><\/p>\n

F-B\u266d<\/span>-E\u266d<\/span><\/p>\n

B\u266d<\/span>-E\u266d<\/span>-A\u266d<\/span><\/p>\n

E\u266d<\/span>-A\u266d<\/span>-D\u266d<\/span><\/p>\n

A\u266d<\/span>-D\u266d<\/span>-G\u266d<\/span><\/p>\n

…the list goes on and on.<\/p>\n

Major vs Minor 2-5-1 <\/b><\/h2>\n

In my post on the second day<\/a> of Christmas, we covered two tonalities.<\/p>\n

A 2-5-1 progression is a chord progression that takes you to the first degree of the scale (aka \u2013 \u201ctonic\u201d).<\/p>\n

The tonic chord of a key will share the same quality with that key. Using triads, the tonic chord of C major is:<\/p>\n

C major
\n<\/p>\n

…while the tonic chord of C minor is:<\/p>\n

C minor
\n<\/a><\/p>\n

A 2-5-1 progression to C major can be differentiated from a 2-5-1 to C minor by assigning quality (major or minor) to it.<\/p>\n

A 2-5-1 to C major is known as the major<\/em> 2-5-1 while that of C minor is known as the minor<\/em> 2-5-1. If we generalize that for every other key, we can summarize the classification of 2-5-1 progressions (according to their tonality<\/a>) as follows:<\/p>\n

Major 2-5-1<\/b> is a 2-5-1 chord progression to a major<\/u><\/b> chord or key (as the case may be).<\/p>\n

Minor 2-5-1<\/b> is a 2-5-1 chord progression to a minor<\/u><\/b> chord or key (as the case may be).<\/p>\n

In today\u2019s post, we\u2019ll be covering 4 varieties of the major 2-5-1<\/b>, 3 varieties of the minor 2-5-1<\/b>, and 2 varieties of the 2-5-1 with borrowed chords<\/b>.<\/p>\n

Fasten your seat belt!<\/em><\/p>\n

4 Varieties of the Major 2-5-1<\/h2>\n

The destination of a major 2-5-1 is a major<\/em> chord.<\/p>\n

I’ll be breaking these 2-5-1 progressions down in the key of D\u266d<\/span>. Feel free to transpose it to other keys using our midi learning tool below.<\/p>\n

Considering that D\u266d<\/span> major is:<\/p>\n