{"id":11866,"date":"2016-02-04T00:00:00","date_gmt":"2016-02-04T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=11866"},"modified":"2024-10-14T17:32:25","modified_gmt":"2024-10-15T01:32:25","slug":"2-5-1-progression-b-voicing-technique-vs-skeleton-voicings","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/2-5-1-progression-b-voicing-technique-vs-skeleton-voicings\/","title":{"rendered":"2-5-1 Progression: “A & B” Voicing Technique vs Skeleton Voicings"},"content":{"rendered":"

In today’s lesson, we’ll be covering the 2-5-1 chord progression.<\/p>\n

In our founder’s very words, I want to define and analogize chord progressions<\/strong> as the “blood flow of music.”<\/em> I’m tempted to go into the biological implication of blood flow<\/em> but I’ll spare you.<\/p>\n

(I dare not go into all that because of all what we have to cover in this post. Trust me, if I do, it will take us entirely out of the goal of today’s post.)<\/p>\n

I’ll be giving you a step-by-step guide to the skeleton voicing of the 2-5-1 progression using the A & B voicing technique. But before we get into all that, here’s a review of the 2-5-1 progression.<\/p>\n

Reading suggestion: \u201cDrop 2\u201d vs \u201cA & B\u201d Voicing Techniques in 2-5-1 Chord Progressions<\/a>.<\/p>\n

Review of the 2-5-1 Chord Progression<\/h2>\n

The major scale has seven tones. In the key of C major:
\n
\n…chords can be formed on any of these seven degrees.<\/p>\n

C = 1st tone
\nD = 2nd tone
\nE = 3rd tone
\nF = 4th tone
\nG = 5th tone
\nA = 6th tone
\nB = 7th tone<\/p>\n

The 2-5-1 chord progression is the movement of chords<\/em> from the 2nd degree to the 5th degree, then to the 1st degree.<\/p>\n

Below are the seventh chords of the 2nd, 5th, and 1st degrees in C major:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n<\/p>\n

Using voice leading techniques, this chord progression can be rearranged thus:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n<\/p>\n

Wondering why chord 5 looks different? We’ll cover it in the next two segments, stay focused. You can also check out my post on \u201cDrop 2\u201d vs \u201cA & B\u201d Voicing Techniques in 2-5-1 Chord Progressions<\/a>.<\/p>\n

Skeleton Voicing of Seventh Chords<\/h2>\n

The most important tones of a chord – especially in seventh chords – are the third<\/strong> and seventh<\/strong> tones.<\/p>\n

Considering how much we have to cover, kindly check out this post on “How to Play Sevenths Chords With Just Two Notes<\/a>.”<\/p>\n

“What’s This ‘A & B’ Voicing Thing All About?”<\/em><\/h2>\n

It takes the combination of three or more notes to produce a chord.<\/p>\n

Considering these notes (aka – “chord tones”) as though they are voice parts and rearranging them to move like voice parts is known as voicing<\/strong>.<\/p>\n

Seventh chords have four tones. The classic C major seventh chord:
\n<\/p>\n

…is built off the first, third, fifth, and seventh tones of the C major scale:
\n
\n…and is therefore said to have a first (aka – “root”), third, fifth, and seventh.<\/p>\n

Let me reiterate…<\/strong><\/p>\n

In chord formation, the most important tones are the third and seventh. This is because they determine the quality of a chord, whether it’s a major or minor chord.<\/p>\n

In the C major seventh chord:
\n
\n…E and B:
\n
\n…are the third and seventh tones (aka – skeleton) of the C major seventh chord.<\/p>\n

In “A & B” voicing, we are more interested in the position of the third and seventh in any given chord.<\/p>\n

Alphabetically<\/em>, A comes before B.<\/p>\n

Numerically<\/em>, you count three before seven (and not the other way round).<\/p><\/blockquote>\n

In the C major seventh chord:
\n
\nThe third (E):
\n
\n…comes before the seventh (B):
\n
\nHowever, in music, there are situations where you can put the cart before the horse. Indeed.<\/p>\n

[Tweet “In music, there are situations where you can put the cart before the horse.”]<\/p>\n

This may seem like it’s going against normal conventions:<\/p>\n

B coming before A.<\/p>\n

Seven being counted before three.<\/p><\/blockquote>\n

In this case, we’ll play the seventh tone before the third:
\n<\/p>\n

The regular way of playing the third before the seventh (aka – “3-7”):
\n
\n…is called the A voicing<\/strong>, while the “cart before the horse”<\/em> (rearranged) way of playing the seventh chord in such a way that the seventh comes before the third (aka – “7-3”):
\n
\n…is called the B voicing<\/strong>.<\/p>\n

Let’s look at the skeleton voicing of the 2-5-1 chord progression using the A and B voicing technique.<\/p>\n

“A-B-A Voicing Style” of the 2-5-1 Progression Using the Skeleton Voicing Technique<\/h2>\n

The 2-5-1 chord progression below is called the A-B-A voicing style because we’re moving from the A voicing<\/strong> of chord 2:
\n
\n…to the B voicing<\/strong> of chord 5:
\n
\n…then the A voicing<\/strong> of chord 1:
\n
\nA voicing<\/strong> (chord 2) – B voicing<\/strong> (chord 5) – A voicing<\/strong> (chord 1).<\/p>\n

Let’s go a step further by deriving the skeleton voicing of chords 2, 5, and 1 in the key of C major.<\/p>\n

The Skeleton Voicing of Chord 2<\/h3>\n

Chord 2 is the A voicing of the D minor seventh chord:
\n
\n…its third is F:
\n
\n…and its seventh is C:
\n
\nTherefore the skeleton voicing of the D minor seventh chord is F-C:
\n
\n…played over D on the bass:
\n
\nHere’s the A voicing of the D minor seventh chord using the skeleton voicing:
\n<\/p>\n

The Skeleton Voicing of Chord 5<\/h3>\n

Chord 5 is the B voicing of the G dominant seventh chord:
\n
\nPlease, remember that in the B voicing, the seventh comes before the third (one of those cart before the horse<\/em> situations.)<\/p>\n

…its seventh is F:
\n
\n…and its third is B:
\n
\nTherefore the skeleton voicing of the G dominant seventh chord is F-B:
\n
\n…played over G on the bass:
\n
\nHere’s the B voicing of the G dominant seventh chord using the skeleton voicing:
\n<\/p>\n

The Skeleton Voicing of Chord 1<\/h3>\n

Chord 1 is the A voicing of the C major seventh chord:
\n
\n…its third is E:
\n
\n…and its seventh is B:
\n
\nTherefore the skeleton voicing of the C major seventh chord is E-B:
\n
\n…played over C on the bass:
\n<\/p>\n

Here’s the A voicing of the C major seventh chord using the skeleton voicing:
\n
\nThe 2-5-1 chord progression in the key of C major can be played using these skeleton voicings. <\/p>\n

Check it out below:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n<\/p>\n

“B-A-B Voicing Style” of the 2-5-1 Progression Using the Skeleton Voicing Technique<\/h2>\n

Here’s an alternate take of the 2-5-1 chord progression. This is the B-A-B voicing style.<\/p>\n

Here’s a breakdown of this voicing style.<\/p>\n

We’re moving from the B voicing<\/strong> of chord 2:
\n
\n…to the A voicing<\/strong> of chord 5:
\n
\n…then the B voicing<\/strong> of chord 1:
\n
\nB voicing<\/strong> (chord 2) – A voicing<\/strong> (chord 5) – B voicing<\/strong> (chord 1).<\/p>\n

Let’s go a step further by deriving the skeleton voicing of chords 2, 5, and 1 in the key of C major.<\/p>\n

The Skeleton Voicing of Chord 2<\/h3>\n

Chord 2 is the B voicing of the D minor seventh chord:
\n
\nIt’s a B voicing. That’s why the seventh comes before the third.<\/p>\n

Its seventh is C:
\n
\n…and its third is F:
\n
\nTherefore the skeleton voicing of the D minor seventh chord is C-F:
\n
\n…played over D on the bass:
\n
\nHere’s the B voicing of the D minor seventh chord using the skeleton voicing:
\n<\/p>\n

The Skeleton Voicing of Chord 5<\/h3>\n

Chord 5 is the A voicing of the G dominant seventh chord:
\n<\/p>\n

Its third is B:
\n
\n…and its seventh is F:
\n<\/p>\n

Therefore the skeleton voicing of the G dominant seventh chord is B-F:
\n
\n…played over G on the bass.
\n
\nHere’s the A voicing of the G dominant seventh chord using the skeleton voicing:
\n<\/p>\n

The Skeleton Voicing of Chord 1<\/h3>\n

Chord 1 is the B voicing of the C major seventh chord:
\n
\n…its seventh is B:
\n
\n…and its third is E:
\n
\nTherefore the skeleton voicing of the C major seventh chord is B-E:
\n
\n…played over C on the bass:
\n
\nHere’s the B voicing of the C major seventh chord using the skeleton voicing:
\n
\nPutting these chords together would produce the 2-5-1 chord progression in the key of C major. Check it out below:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n<\/p>\n

Final Words<\/h2>\n

The skeleton voicing technique is an important tool that should be in the toolbox of any serious musician.<\/p>\n

Not only does it help you play less and sound more, it also helps you keep the skeleton in the chordboard<\/a> visible.<\/p>\n

In another post, I’ll be showing you steps to master these voicing activities over the 2-5-1 progression.<\/p>\n

See you then.<\/p>\n

 <\/p>\n

P.S.<\/p>\n

We are coming out with a cutting edge course that breaks down chords and harmony using never-before-seen techniques and with breathtaking simplicity.<\/p>\n

\u201cWho Else is Interested in a Proper Introduction To\u2026\u201d<\/em><\/h3>\n
    \n
  • Chords by understanding scalar and intervallic relationship between chord tones.<\/li>\n
  • Classification of chords according to class of harmony, aggregate, stability quality etc.<\/li>\n
  • ALL scale degree chords (triads, seventh chords and extended chords [ninths, elevenths and thirteenths]).<\/li>\n
  • Chord inversions (choral style and keyboard style) like never before.<\/li>\n
  • Advanced concepts (like Harmonic function, Chord Voicing, Chord Notation, etc) that will ground you in chords. Bonus chapter on triad and seventh chord arpeggios.<\/li>\n<\/ul>\n

    [thrive_2step id=’11361′]Yes! I am interested in learning all about chords.<\/span><\/span>[\/thrive_2step]<\/p>\n","protected":false},"excerpt":{"rendered":"

    In today’s lesson, we’ll be covering how play the famous 2-5-1 progression with A & B skeleton voicings.<\/p>\n","protected":false},"author":9,"featured_media":22953,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[33,1253,1985,1983,1984],"class_list":["post-11866","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-2-5-1-chord-progression","tag-2-5-1-progression","tag-2-5-1-skeleton-voicing","tag-a-voicing","tag-b-voicing","post-wrapper","thrv_wrapper"],"yoast_head":"\n2-5-1 Progression: "A & B" Voicing Technique vs Skeleton Voicings - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In today's lesson, we'll be covering how play the famous 2-5-1 progression with A & B skeleton voicings.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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