{"id":11088,"date":"2015-12-20T00:00:00","date_gmt":"2015-12-20T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=11088"},"modified":"2024-10-16T03:21:55","modified_gmt":"2024-10-16T11:21:55","slug":"voice-leading-techniques-for-approaching-2-5-1-chord-progressions","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/voice-leading-techniques-for-approaching-2-5-1-chord-progressions\/","title":{"rendered":"Voice Leading Techniques for Approaching The 2-5-1 Chord Progression"},"content":{"rendered":"

The harmonic movement to the first degree from the second and fifth scale degrees is known as the 2-5-1 chord progression.<\/strong><\/p>\n

I\u2019ll assume that you know the 2-5-1 chord progression since we highlighted it in a previous lesson<\/a>. <\/p>\n

The 2-5-1 chord progression is one of the most important progressions in music. It was from our founder and president that I first heard that the 2-5-1 chord progression could pretty much end ALL songs. To be honest, when I first read that blog post several years ago, I literally started searching for songs that contradicted this principle. <\/p>\n

Truth is, sure, there are songs out there that don\u2019t follow the “2-5-1” ending and that\u2019s because from time to time, composers tend to break rules or want to do something different. I got to find out after all, though, that our founder was right in his proposition.<\/p>\n

In a previous lesson, we covered Intermediate Voice-Leading Techniques for Seventh Chords<\/a>. Please check out that lesson before you proceed. Today, I\u2019m going to show you voice leading principles that can help you make the most out of the 2-5-1 chord progression and most importantly in ALL keys.<\/p>\n

Note: There is an upcoming FREE Quick Guide available for this lesson. Sign up below to get notified when it’s ready for download:
\n[thrive_leads id=’11241′]<\/p>\n

Voice Leading Principles for Cyclical Progressions<\/b><\/h2>\n

The 2-5-1 chord progression is a cyclical<\/a> progression because it is based on an interval cycle (of fourths\/fifths). For example, a 2-5-1 movement in the key of C will imply D-G-C (that is, a chord on “D” to a chord on “G” to a chord on “C”). <\/p>\n

In a 2-5 chord progression, using D to G<\/strong> (in the key of C) is an interval of a fourth.
\n\"chord
\nHowever, inversion of D-G will yield G-D (a fifth).
\n
\nTherefore from D to G, we\u2019ll ascend a fourth or descend a fifth. The same thing is applicable to the 5-1 progression<\/b>. G to C (in the key of C) is an interval of a fourth.
\n
\nInversion of G-C will yield C-G (a fifth).
\n<\/p>\n

The 2-5-1 chord progression is a cyclical progression because the movement of the root is based on an interval of fifths\/fourths. There are special voice leading principles for chords progression following this cycle.<\/p>\n

    \n
  1. Seventh chords are categorized into A and B voicings<\/b>. In the “A” voicing, the third comes before the seventh while in the “B” voicing, the seventh comes before the third. (Don’t worry, I’ll break all of this down).<\/li>\n

    <\/p>\n

  2. Moving from an “A” voicing to “B” voicing<\/u> (and vice versa) in cyclical progressions is key.<\/b> Options like A voicing to A voicing<\/u> or B voicing to B voicing <\/u>are forbidden.<\/li>\n

    <\/p>\n

  3. The root and third of a chord becomes the fifth and seventh of the next chord<\/b> in cyclical progressions of fifths\/fourths.<\/li>\n<\/ol>\n

    Let\u2019s look closely at each of these principles.<\/p>\n

    \n

    Principle #1 – Seventh Chords are Categorized Into A and B Voicings<\/b><\/h3>\n<\/div>\n

    Voicing is the practice of regarding the notes of a chord as voices<\/i>. Voicing deals largely with the re-arrangements of these notes. The voicing \u00ad<\/i>or re-arrangement of the notes of a chord is important in voice leading because these re-arrangements help us achieve a higher degree of smoothness when connecting chords.<\/p>\n

    In the A and B voicing technique<\/b>, the emphasis is on the arrangement of the third and seventh<\/b> and this is because the third and seventh are the most important tones of a chord (they have the ability to determine the quality of chords). <\/p>\n

    If a seventh chord is played in such a way that the third comes before the seventh<\/u>, such a voicing is called the A voicing<\/b>. When a seventh chord is played in such a way that the seventh comes before the third, such a voicing is called the B voicing<\/b>. We\u2019ll look at A and B voicings of seventh chords shortly before moving on.<\/p>\n

    The A voicing<\/i><\/b> of F major seventh is the regular way of playing it – which you\u2019re probably accustomed to:
    \n<\/p>\n

    Chord voicings can be represented using voicing formulas. The voicing above can be represented as R-3-5-7, meaning root, third<\/b>, fifth, and seventh<\/b> and is considered an A voicing because in the voicing formula, the number “three” comes before the number “seven.” <\/p>\n

    Voicing other chords using this voicing formula will yield A voicings<\/b>. For example:<\/p>\n

    Chord 2<\/b>
    \n<\/p>\n

    Chord 5<\/b>
    \n<\/p>\n

    Chord 1<\/b>
    \n<\/p>\n

    The B voicing <\/i><\/b>of F major seventh is a re-arrangement of the regular F major seventh chord:
    \n<\/p>\n

    The voicing above can be represented as 5-7-R-3 meaning fifth, seventh,<\/b> root and third<\/b>, and is considered a B voicing because in the voicing formula, the number “seven” comes before the number “three.” <\/p>\n

    Voicing other chords using this voicing formula will also yield B voicings<\/b>. B voicings can be challenging to play because of the re-arrangement. However, if I share with you with what I was taught on this site so many years ago by JP (Jonathan Powell of the Gospel Music Training Center<\/a>), I know you\u2019ll play B voicings with effortless ease the same way I did. <\/p>\n

    It was a while ago, but he simply said something like: \u201ctake the two top notes of a chord and put them on the bottom or vice versa<\/b>\u201d. It was that simple! (I know I\u2019ll make JP proud of me whenever he finally reads this.)<\/p>\n

    So, let\u2019s put JP\u2019s secret to work.<\/p>\n

    JP\u2019s Secret Step #1 \u2013 Play an A voicing. <\/b>Let\u2019s use the F major seventh chord:
    \n<\/p>\n

    JP\u2019s Secret Step #2 \u2013 Take the two top notes and put them on the bottom or you take the two bottom notes and put them on the top. <\/b>The two top notes are C and E while the two bottom notes are F and A. Transposing two top notes an octave below will yield:
    \n<\/p>\n

    Also, if we choose to do an octave transposition<\/a><\/i> of the two bottom notes (F and A) to a higher octave, we\u2019ll still arrive at:
    \n<\/p>\n

    The voicings below are all B voicings.<\/p>\n

    Chord 2<\/b><\/p>\n

    G minor seventh chord is regularly played as G-D-B\u266d<\/span>-F. However, with JP\u2019s secret, we\u2019re able to make a B voicing<\/b> out of it below as D-F-G-B\u266d<\/span>.
    \n<\/p>\n

    Chord 5<\/b><\/p>\n

    C dominant seventh chord is regularly played as C-E-G-B\u266d<\/span>. However, with JP\u2019s secret, we\u2019re able to make a B voicing<\/b> out of it below as G-B\u266d<\/span>-C-E.
    \n<\/p>\n

    Chord 1<\/b><\/p>\n

    F major seventh chord is regularly played as F-A-C-E. However, with JP\u2019s secret, we\u2019re able to make a B voicing<\/b> out of it below as C-E-F-A<\/b>
    \n<\/p>\n

    \n

    Principle #2 – Moving from A Voicings to B Voicings<\/u> and Vice Versa in Cyclical Progressions is Key.<\/b><\/h3>\n<\/div>\n

    In a 2-5-1 chord progression, chords 2 and 1 are adjacent to each other. Therefore, it is easy to move from chord 2 to chord 1 smoothly.
    \n
    \n<\/p>\n

    However, from the grand scheme of things, we can see that a 2-5-1 chord progression can be broken down into two smaller chord progressions: 2-5 and 5-1.<\/p>\n

    2-5 progression
    \n
    \n<\/p>\n

    5-1 progression
    \n
    \n<\/p>\n

    In both cases, the chords are not adjacent to each other and the only way we can connect chords 2, 5 and 1 is with voice leading techniques.<\/p>\n

    To create a smooth connection between two chords that are not adjacent to each other, you are advised to move from an A chord voicing to a B chord voicing (or vice versa). In a 2-5-1 chord progression, you can play an A voicing of chord 2, B voicing of chord 5, then back to A voicing of chord 1. Or, of course, the other way around.<\/p>\n\n\n\n\n\n
    \n

    2<\/b><\/p>\n<\/td>\n

    		\n

    5<\/b><\/p>\n<\/td>\n

    		\n

    1<\/b><\/p>\n<\/td>\n<\/tr>\n

    \n

    A voicing<\/p>\n<\/td>\n

    		\n

    B voicing<\/p>\n<\/td>\n

    		\n

    A voicing<\/p>\n<\/td>\n<\/tr>\n

    \n

    B voicing<\/p>\n<\/td>\n

    		\n

    A voicing<\/p>\n<\/td>\n

    		\n

    B voicing<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    <\/strong>
    \nWith this, you\u2019ll have two ways of connecting chords and that largely depends on the voicing used for chord 2. If an A voicing is used for chord 2, you\u2019ll have an A-B-A<\/b> “2-5-1” while if a B voicing is used for chord 2, you\u2019ll have a B-A-B<\/b> “2-5-1.”<\/p>\n

    A-B-A<\/b> “2-5-1”<\/p>\n

    This voice leading technique of playing the 2-5-1 progression starts and ends with an A voicing. Considering that chords 2 and 1 are adjacent chords:
    \n
    \n<\/p>\n

    Our assignment is to connect chords 2 and 1 (A voicings) with chord 5 (B voicing). The B voicing of chord 5 (C dominant) is G B\u266d<\/span> C E:
    \n<\/p>\n

    If we put everything together, we\u2019ll have:<\/p>\n


    \n
    \n<\/p>\n

    In the 2-5-1 chord progression above, did you notice the smoothness? We\u2019re playing the same 2-5-1 progression with the voices moving as close as possible (also with little hand movement).<\/p>\n

    B A B <\/b>2-5-1<\/p>\n

    In contrast to the A-B-A style we just covered, this 2-5-1 progression starts and ends with B voicings. Here are the B voicings of chords 2 and 1 (adjacent chords):
    \n
    \n<\/p>\n

    Considering that these two chords already have a degree of smoothness, we are only left with the obligation of connecting chords 2 and 1 (B voicings) with chord 5 (A voicing). The “A” voicing of chord 5 (C dominant) is C E G B\u266d<\/span>:
    \n<\/p>\n

    If we put everything together, we\u2019ll have:
    \n
    \n
    \n<\/p>\n

    That was smooth even though it may seem a little bit unusual to end your 2-5-1 with the B voicing. But hey, my job is to give you options. It’s your job to explore them and apply what makes sense and resonates for you. <\/p>\n

    Let\u2019s round up by summarizing the first two principles we covered.<\/p>\n

    \n

    Principle #3 – The Root and Third of a Chord Becomes the Fifth and Seventh of the Next Chord<\/b><\/h3>\n<\/div>\n

    A seventh chord consists of a root, third, fifth and seventh. If we take a closer look at the two voice leading styles (A-B-A and B-A-B) we covered earlier, you\u2019ll notice that:<\/p>\n

    The root and third of chord 2 and the third and seventh of chord 5 are the same.<\/b><\/p>\n

    Table #1 – A Voicing (R-3-5-7)<\/p>\n

    \n\n\n\n\n\n
    Chords<\/td>\n\n

    Root<\/p>\n<\/td>\n

    		\n

    Third<\/p>\n<\/td>\n

    		\n

    Fifth<\/p>\n<\/td>\n

    		\n

    Seventh<\/p>\n<\/td>\n<\/tr>\n

    Chord 2 (A voicing)<\/td>\n\n

    G<\/b><\/p>\n<\/td>\n

    		\n

    B<\/b>\u266d<\/b><\/span><\/b><\/p>\n<\/td>\n

    		\n

    D<\/p>\n<\/td>\n

    		\n

    F<\/p>\n<\/td>\n<\/tr>\n

    Chord 5 (A voicing)<\/td>\n\n

    C<\/p>\n<\/td>\n

    		\n

    E<\/p>\n<\/td>\n

    		\n

    G<\/b><\/p>\n<\/td>\n

    		\n

    B<\/b>\u266d<\/b><\/span><\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

    <\/strong>
    \nTable #2 – B Voicing (5-7-R-3)<\/p>\n

    \n\n\n\n\n\n
    Chords<\/td>\n\n

    Fifth<\/p>\n<\/td>\n

    		\n

    Seventh<\/p>\n<\/td>\n

    		\n

    Root<\/p>\n<\/td>\n

    		\n

    Third<\/p>\n<\/td>\n<\/tr>\n

    Chord 2 (B voicing)<\/td>\n\n

    D<\/b><\/p>\n<\/td>\n

    		\n

    F<\/b><\/p>\n<\/td>\n

    		\n

    G<\/b><\/p>\n<\/td>\n

    		\n

    B<\/b>\u266d<\/b><\/span><\/p>\n<\/td>\n<\/tr>\n

    Chord 5 (B voicing)<\/td>\n\n

    G<\/b><\/p>\n<\/td>\n

    		\n

    B<\/b>\u266d<\/b><\/span><\/p>\n<\/td>\n

    		\n

    C<\/b><\/p>\n<\/td>\n

    		\n

    E<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

    <\/strong><\/p>\n

    In both cases, the root and third of G minor seventh (chord 2) and C dominant seventh (chord 5) are the same \u2013 G-B\u266d<\/span>. The second principle forbids us from moving from A to A voicing. Therefore, we can achieve smoothness by connecting chord 2 from table 1 (A voicing)<\/b> and chord 5 from table 2 (B voicing) <\/b>to form a smooth<\/u> 2-5 progression (A-B style) <\/b>or chord 2 from table 2 (B voicing)<\/b> and chord 5 from table 1 (A voicing) <\/b>to form another smooth<\/u> 2-5 progression (B-A style).<\/p>\n

    The root and third of chord 5 and the third and seventh of chord 1 are the same.<\/b><\/p>\n

    Table #1 – A Voicing (R-3-5-7)<\/p>\n

    \n\n\n\n\n\n
    Chords<\/td>\n\n

    Root<\/p>\n<\/td>\n

    		\n

    Third<\/p>\n<\/td>\n

    		\n

    Fifth<\/p>\n<\/td>\n

    		\n

    Seventh<\/p>\n<\/td>\n<\/tr>\n

    Chord 5 (A voicing)<\/td>\n\n

    C<\/b><\/p>\n<\/td>\n

    		\n

    E<\/b><\/p>\n<\/td>\n

    		\n

    G<\/p>\n<\/td>\n

    		\n

    B\u266d<\/span><\/p>\n<\/td>\n<\/tr>\n

    Chord 1 (A voicing)<\/td>\n\n

    F<\/p>\n<\/td>\n

    		\n

    A<\/p>\n<\/td>\n

    		\n

    C<\/b><\/p>\n<\/td>\n

    		\n

    E<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

    <\/strong><\/p>\n

    Table #2 – B Voicing (5-7-R-3)<\/p>\n

    \n\n\n\n\n\n
    Chords<\/td>\n\n

    Fifth<\/p>\n<\/td>\n

    		\n

    Seventh<\/p>\n<\/td>\n

    		\n

    Root<\/p>\n<\/td>\n

    		\n

    Third<\/p>\n<\/td>\n<\/tr>\n

    Chord 5 (B voicing)<\/td>\n\n

    G<\/b><\/p>\n<\/td>\n

    		\n

    B\u266d<\/span><\/b><\/p>\n<\/td>\n

    		\n

    C<\/b><\/p>\n<\/td>\n

    		\n

    E<\/b><\/p>\n<\/td>\n<\/tr>\n

    Chord 1 (B voicing)<\/td>\n\n

    C<\/b><\/p>\n<\/td>\n

    		\n

    E<\/b><\/p>\n<\/td>\n

    		\n

    F<\/b><\/p>\n<\/td>\n

    		\n

    A<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

    <\/strong>
    \nIn both cases, the root and third of C dominant seventh (chord 5) and F major seventh (chord 1) are the same \u2013 C-E. If we move from chord 2 in table 1 (A voicing)<\/b> to chord 5 in table 2 (B voicing)<\/b>, we\u2019ll have a smooth<\/u> 2-5 progression (A-B style). Alternatively, if we connect chord 2 from table 2 (B voicing)<\/b> and chord 5 from table 1 (A voicing)<\/b>, we can also have another smooth<\/u> 2-5 progression (B-A style).<\/p>\n

    If you want to learn how to apply this technique in ALL the keys, then I recommend that you subscribe below for the upcoming FREE quick guide that accompanies this blog post. Yup, it’s free, yet priceless.<\/strong>
    \n[thrive_leads id=’11241′]<\/p>\n","protected":false},"excerpt":{"rendered":"

    In this post, you’ll learn voice leading techniques for smoothly transitioning between chords of the 2-5-1 chord progression. <\/p>\n","protected":false},"author":9,"featured_media":23007,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[1888,1889,17,77,1855,1879],"class_list":["post-11088","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-a-voicings","tag-b-voicings","tag-basic-songs","tag-inversions","tag-voice-leading","tag-voice-leading-seventh-chords","post-wrapper","thrv_wrapper"],"yoast_head":"\nVoice Leading Techniques for Approaching The 2-5-1 Chord Progression - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this post, you'll learn voice leading techniques for smoothly transitioning between chords of the 2-5-1 chord 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