{"id":11741,"date":"2016-01-14T00:00:00","date_gmt":"2016-01-14T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=11741"},"modified":"2024-10-14T17:41:33","modified_gmt":"2024-10-15T01:41:33","slug":"2-5-1-progression-augmented-matrix","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/2-5-1-progression-augmented-matrix\/","title":{"rendered":"Developing the 2-5-1 Progression in an Augmented Matrix"},"content":{"rendered":"

In a previous post that received rave reviews, we studied the augmented triad<\/a>.<\/p>\n

I am dedicating this post to one of our blog readers who asked for the application of the augmented triad.<\/p>\n

The augmented triad<\/b> can be applied in so many ways, from being used in upper structures, to polychord voicings and passing chords, etc. (We\u2019ll gradually cover these topics and more in future posts).<\/p>\n

But in this post, we\u2019ll be looking at the use of the augmented triad to form a matrix by building chord progressions around it.<\/p>\n

The Augmented Triad<\/b><\/p>\n

The augmented triad is formed by raising the fifth chord tone of a major triad by a semitone. If the fifth of C major:
\n
\n…which is G:
\n
\n…is raised by a half step to G#:
\n
\n\u2026this will produce C augmented triad:
\n<\/p>\n

Before we continue\u2026<\/b><\/p>\n

If you\u2019re not familiar with augmented triads, or perhaps you want to know more about them, you\u2019ll do well to read my post<\/a> on them – a post in our free “16 Chords in 16 Weeks”<\/strong>, series where you\u2019ll learn more and also get a chord cheat sheet<\/a> from Jermaine Griggs \u2013 our president and founder.<\/p>\n

*Going beyond this point shows you\u2019re likely already familiar with augmented triads. However, for your reference, here are the augmented triads in all keys:<\/p>\n

C augmented triad:
\n<\/p>\n

Db augmented triad:
\n<\/p>\n

D augmented triad:
\n<\/p>\n

Eb augmented triad:
\n<\/p>\n

E augmented triad:
\n<\/p>\n

F augmented triad:
\n<\/p>\n

Gb augmented triad:
\n<\/p>\n

G augmented triad:
\n<\/p>\n

Ab augmented triad:
\n<\/p>\n

A augmented triad:
\n<\/p>\n

Bb augmented triad:
\n<\/p>\n

B augmented triad
\n
\n\u00a0<\/b>
\n* The spelling of B augmented as B-D-G is because my virtual keyboard tool doesn’t spell accidentals like F## (pronounced F double sharp).<\/p>\n

Ditone Progression<\/b><\/h2>\n

The ditone<\/a> is a melodic progression in the same way the semitone (aka \u2013 \u201chalf step\u201d) and whole tone (aka \u2013 \u201cwhole step\u201d) are.<\/p>\n

Division of the octave into a certain number of parts produces melodic progressions and the ditone is one of the common six melodic progressions<\/a> we covered in the past.<\/p>\n

The ditone divides an octave (12 notes or semitone progressions<\/a>) into 3 equal parts.<\/p>\n

If you do the math, 12 semitones \/ 3 parts = 4 semitones (aka \u2013 \u201chalf steps\u201d).<\/p>\n

This means that the distance of 4 semitones from any given note is a ditone.<\/p>\n

If we move around the keyboard starting from C and using a ditone progression…<\/p>\n

C to E is a ditone (the first ditone of the octave).<\/b><\/h3>\n

1st<\/sup> half step – C to C# (aka \u2013 \u201cDb\u201d):
\n<\/p>\n

2nd<\/sup> half step – C# to D:
\n<\/p>\n

3rd<\/sup> half step – D to D# (aka \u2013 \u201cEb\u201d):
\n<\/p>\n

4th<\/sup> half step – D# to E:
\n<\/p>\n

\u2026E to G# (aka \u2013 \u201cAb\u201d) in turn is a ditone (the second ditone of the octave).<\/b><\/h3>\n

1st<\/sup> half step – E to F:
\n<\/p>\n

2nd<\/sup> half step – F to F# (aka \u2013 \u201cGb\u201d):
\n<\/p>\n

3rd<\/sup> half step – F# to G:
\n<\/p>\n

4th<\/sup> half step – G to G# (aka \u2013 \u201cAb\u201d):
\n<\/p>\n

\u2026G# to C is a ditone (the third ditone of the octave).<\/b><\/h3>\n

1st<\/sup> half step – G# to A:
\n<\/p>\n

2nd<\/sup> half step – A to A# (aka \u2013 \u201cBb\u201d):
\n<\/p>\n

3rd<\/sup> half step – A# to B:
\n<\/p>\n

4th<\/sup> half step – B to C:
\n<\/p>\n

Remember that the ditone is the division of the octave into three parts. Here are the three parts:<\/p>\n

C to E \u2013 1st<\/sup> ditone:
\n<\/p>\n

E to G# \u2013 2nd<\/sup> ditone:
\n<\/p>\n

G# to C \u2013 3rd<\/sup> ditone:
\n<\/p>\n

IMPORTANT<\/b><\/p>\n

At this point, it is necessary for me to let you know that moving notes around in a ditone progression will outline an augmented triad.<\/p>\n

This can represent a ditone in the key of C and a C augmented triad as well:
\n<\/p>\n

2-5-1 Progression in an Augmented Matrix<\/b><\/h2>\n

An augmented matrix simply means an augmented structure<\/i>, outline<\/i> or environment<\/i>. So far, we\u2019ve understood this structure<\/i> and the relationship it has with the ditone progression.<\/p>\n

In this segment, we\u2019re taking our studies a step further by developing the 2-5-1 progression in an augmented matrix (or environment).<\/p>\n

Before jumping to it, let\u2019s review the 2-5-1 briefly.<\/p>\n

2-5-1 Progression: Quick Review<\/b><\/h3>\n

The 2-5-1 is the movement of chords from the 2nd<\/sup> degree of the scale, to the 5th<\/sup> degree of the scale, before moving to the 1st<\/sup> degree of the scale.<\/p>\n

Below are the seven degrees of the C major scale:
\n
\nA 2-5-1 progression in this key will entail a movement from D (which is the 2nd degree):
\n
\n\u2026to G (which is the 5th degree):
\n
\n\u2026and finally to C (which is the 1st degree):
\n<\/p>\n

Click here<\/a> to check out another comprehensive post exclusively on the 2-5-1 and how it can be played in all keys.<\/p>\n

2-5-1 Progression: Augmented Matrix<\/b><\/h3>\n

In the key of C, we can create an augmented matrix by connecting the three notes in it, which are…<\/p>\n

C:
\n
\nE:
\n
\nG#:
\n<\/p>\n

(To avoid the use of difficult spellings, I\u2019ll use G# and Ab<\/u> interchangeably henceforth.)<\/p>\n

Now that the environment<\/i> is set, the next thing is to connect 2-5-1 progressions in these keys \u2013 C, E and Ab.<\/p>\n

This is where things get interesting…<\/b><\/p>\n

Let\u2019s learn the 2-5-1 progression in these three keys and move through the augmented matrix we just learned with them.<\/p>\n

2-5-1 in C major<\/b><\/h3>\n

[wp_colorbox_media url=”http:\/\/tools.hearandplay.com\/songtutorkeystest7\/SongTutor.html?midifile=augmentedMidi1.mid” type=”iframe” hyperlink=”https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/12\/Screenshot-2015-12-22-22.04.15.png” title=”2-5-1 in C major”]<\/p>\n

This 2-5-1 progression features three chords – Dmin9, G9 and Cmaj9.<\/span><\/p>\n

2-5-1 in E major<\/b><\/h3>\n

[wp_colorbox_media url=”http:\/\/tools.hearandplay.com\/songtutorkeystest7\/SongTutor.html?midifile=augmentedMidi2.mid” type=”iframe” hyperlink=”https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/12\/Screenshot-2015-12-22-22.04.15.png” title=”2-5-1 in E major”]<\/p>\n

The chords used in this 2-5-1 progression are – F#min9, B9 and Emaj9.<\/span><\/p>\n

2-5-1 in Ab major<\/b><\/h3>\n

[wp_colorbox_media url=”http:\/\/tools.hearandplay.com\/songtutorkeystest7\/SongTutor.html?midifile=augmentedMidi3.mid” type=”iframe” hyperlink=”https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/12\/Screenshot-2015-12-22-22.04.15.png” title=”2-5-1 in Ab major”]<\/p>\n

This 2-5-1 progression features three chords – Bbmin9, Eb9 and Abmaj9.<\/span><\/p>\n

Final Words<\/b><\/h2>\n

The 2-5-1 progression we just learned in three keys can be connected like this:<\/p>\n

[wp_colorbox_media url=”http:\/\/tools.hearandplay.com\/songtutorkeystest7\/SongTutor.html?midifile=augmentedMidi4.mid” type=”iframe” hyperlink=”https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/12\/Screenshot-2015-12-22-22.04.15.png” title=”2-5-1 in an Augmented Matrix”]<\/p>\n

This is one of those mind-blowing adventures in Jazz music.<\/p>\n

Feel free to take it out of the regular Jazz context anytime and use it to spice up your playing by developing your 2-5-1 progressions in an augmented matrix.<\/p>\n

Further study: The Coltrane Changes<\/a><\/p>\n

Done for today, see you next time.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this post, we\u2019ll be looking at the augmented matrix and how to use it to connect 2-5-1 chord progressions together. These are also known as the Coltrane changes.<\/p>\n","protected":false},"author":9,"featured_media":22974,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,22,9],"tags":[14,1256,1954,1792],"class_list":["post-11741","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-jazz-music","category-piano","tag-2-5-1-chord-progressions","tag-2-5-1-progressions","tag-augmented-matrix","tag-coltrane-changes","post-wrapper","thrv_wrapper"],"yoast_head":"\nDeveloping the 2-5-1 Progression in an Augmented Matrix - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"We\u2019ll be looking at the augmented matrix and how to use it to connect 2-5-1 chord progressions together. 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