{"id":12051,"date":"2016-01-30T00:00:00","date_gmt":"2016-01-30T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12051"},"modified":"2024-10-14T17:35:03","modified_gmt":"2024-10-15T01:35:03","slug":"7-3-6-chord-progression-vs-minor-2-5-1-chord-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/7-3-6-chord-progression-vs-minor-2-5-1-chord-progression\/","title":{"rendered":"The Minor 2-5-1 Chord Progression vs the 7-3-6 Chord Progression"},"content":{"rendered":"

Today, we\u2019ll be considering the relationship between the minor 2-5-1 progression<\/strong> and the 7-3-6 chord progression<\/strong>.<\/p>\n

The term “7-3-6 chord progression” is more common than the “minor 2-5-1 chord progression.”<\/p>\n

In this post, you’ll not only discover why this is so, but also understand why every 7-3-6 chord progression is a minor\u00a02-5-1 chord progression but not all minor 2-5-1 chord progressions are 7-3-6 chord progressions.<\/p>\n

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

The movement of chords from one degree of the scale to another is called a chord progression<\/i>.<\/p>\n

In a previous post<\/a>, we covered two tonalities \u2013 major<\/strong> and minor<\/strong> – and how each tonality has its respective scale. Check out the scales of C major and C minor below:<\/p>\n

C major scale:
\n<\/p>\n

C minor scale:
\n<\/p>\n

The term \u201c2-5-1 chord progression\u201d simply refers to the movement of chords from the second tone of the scale to the fifth tone of the scale, finally resolving home to the first tone of the scale (whether major or minor).<\/p>\n

Usually, when the term “2-5-1 chord progression” is used, it means a movement to the first degree of the major scale<\/b> (aka \u2013 \u201cmajor 2-5-1 chord progression\u201d).<\/p>\n

In the major scale of C:
\n
\nThe second, fifth, and first degrees of the C major scale are D, G and C:
\n<\/p>\n

Therefore, a 2-5-1 chord progression in the key of C will involve the following chords:
\nChord 2 (D minor seventh):
\n
\nChord 5 (G dominant seventh):
\n
\nChord 1 (C major seventh):
\n<\/p>\n

Truth be told, much of the music we hear on the radio, in church, and all around us, is in the major tonality. Owing to this, the major<\/strong> 2-5-1 chord progression has almost seen as the only type of 2-5-1 chord progression.<\/p>\n

But there is another specie of the 2-5-1 chord progression in the minor<\/strong> key (aka \u2013 \u201cminor 2-5-1 chord progression\u201d).<\/p>\n

In the formation of the 2-5-1 chord progression in the key of C minor (which is the parallel minor key of C major), it\u2019s most appropriate for us to use the harmonic minor scale instead of the pure minor scale. If you don\u2019t know why, click here<\/a>.<\/p>\n

In the C harmonic minor scale:
\n
\n\u2026the second, fifth, and first tones are also D, G, and C:
\n
\n…respectively. Here\u2019s a 2-5-1 chord progression to C minor.<\/p>\n

Chord 2 (D half-diminished seventh):
\n
\nChord 5 (G dominant seventh):
\n
\nChord 1 (C minor seventh):
\n<\/p>\n

From what we covered so far, there are two types of 2-5-1 chord progressions \u2013 the major<\/strong> and minor<\/strong> 2-5-1 chord progressions. Let\u2019s look at the relationship between the chords used in both species of 2-5-1 chord progression:<\/p>\n

Chord 2<\/h3>\n

Chord 2 in both 2-5-1 chord progressions have differences and similarities alike. In the major 2-5-1 chord progression, the chord quality of the chord 2 used is the minor seventh<\/i>, while in the minor 2-5-1 chord progression, the chord quality of chord 2 used is the minor seventh flat five<\/i> (aka \u2013 \u201chalf-diminished seventh\u201d).<\/p>\n

Chord 2 in the key of C major is D minor seventh, while chord 2 in the key of C minor is D minor seventh flat five. Both chords are related by the minor<\/b> quality. However, in terms of stability, chord 2 in C major is more stable than chord 2 in C minor and this is because the “flat five”<\/em> chord tone of the half-diminished seventh chord.<\/p>\n

Chord 5<\/h3>\n

There\u2019s no difference between Chord 5 in the major key and chord 5 in the minor key (note that we used “harmonic minor” instead of the “natural” minor scale). <\/p>\n

Both chords are dominant seventh chords. Chord 5 is what the major and minor 2-5-1 chord progressions have in common.<\/p>\n

Chord 1<\/h3>\n

The final chord in a chord progression is known as the harmonic destination.<\/strong> This is because for all intents and purposes, it is the chord of the first degree of the scale (aka \u2013 \u201ctonic chord\u201d) and, as such, is the \u201ccenter\u201d to which the first two chords are attracted to.<\/p>\n

In each of the cases, whether in the major or minor 2-5-1 chord progression, chord 5 is always the dominant seventh chord. The strongest pull in music is between chord 5 and chord 1 (aka \u2013 \u201charmonic destination\u201d).<\/p>\n

The harmonic destination of the major 2-5-1 chord progression is a major chord while that of the minor 2-5-1 chord progression is a minor chord.<\/p>\n

This is a remarkable difference between both chord progressions. Therefore, we can tell whether a chord progression is a major or minor 2-5-1 chord progression from the destination chord.<\/p>\n

7-3-6 chord progression<\/h2>\n

The movement of chords from the seventh<\/strong> to the third<\/strong> and then to the sixth<\/strong> degree of the scale is called the “7-3-6 chord progression.”<\/p>\n

In the key of C major:
\n
\n\u2026this will imply a chord movement from B (the seventh tone) to E (the third tone) and then to A (the sixth tone).<\/p>\n

Here\u2019s the 7-3-6 chord progression in the key of C major.<\/p>\n

Chord 7 (B half-diminished seventh):
\n
\nChord 3 (E dominant seventh):
\n
\nChord 6 (A minor seventh):
\n<\/p>\n

Let\u2019s go ahead and analyze this chord progression.<\/p>\n

The harmonic destination of this progression is the A minor seventh chord.<\/p>\n

Even though B, E, and A are the seventh, third, and sixth tones of C major scale:
\n
\n…considering that C is not the destination, it\u2019s more appropriate to consider this chord progression in the key of the harmonic destination.<\/p>\n

In the key of A minor (which is the harmonic destination), B, E, and A are the second, fifth and first scale tones of the A harmonic minor scale:
\n<\/p>\n

So, it\u2019s clear at this point that the 7-3-6 chord progression is a 2-5-1 progression.<\/p>\n

\u201cSo, what kind of 2-5-1 chord progression is the 7-3-6 chord progression?\u201d<\/i><\/h3>\n

Remember what we learned in the previous segment.<\/p>\n

A 2-5-1 chord progression can either be major or minor and this depends on the final chord in the chord progression (aka – “harmonic destination”).<\/p>\n

In the 7-3-6 chord progression, our harmonic destination is A minor seventh chord:
\n
\nTherefore, we can’t be wrong<\/strong> if we say that the 7-3-6 chord progression is a minor 2-5-1 chord progression. The rationale behind this conclusion is that the harmonic destination is a minor<\/i> chord quality.<\/p>\n

7-3-6 Chord Progression vs Minor 2-5-1 Chord Progression<\/h2>\n

There are certain schools of thought that believe that the term “7-3-6 chord progression” is inappropriate (some even consider it childish).<\/p>\n

Well, I understand their plight.<\/p>\n

Some of them will even ask questions like “Why call it a 7-3-6 chord progression when you know it’s a minor 2-5-1 chord progression?”<\/em> and trust me, they have a valid point here.<\/p>\n

There are situations where you need to call the 7-3-6 chord progression in the key of C major a minor 2-5-1 chord progression in the key of A minor.<\/p>\n

Alright! Let me show you what I mean…<\/em><\/strong><\/p>\n

We covered the harmonic function of minor triads<\/a> in a previous post.<\/p>\n

I showed you the three functions of the minor triad<\/a>, where a given triad, let’s say A minor triad can have the following functions:<\/p>\n

Chord 1 in the key of A minor
\nChord 4 in the key of E minor
\nChord 5 in the key of D minor<\/p><\/blockquote>\n

…in the minor key. If we look at it’s function in the major key, A minor can also be:<\/p>\n

Chord 2 in the key of G major
\nChord 3 in the key of F major
\nChord 6 in the key of C major<\/p><\/blockquote>\n

It is the change of harmonic functions that leads to the use of terms like\u00a07-3-6 chord progression.<\/p>\n

The chord progression below…<\/p>\n

B half-diminished seventh:
\n
\nE dominant seventh:
\n
\nA minor seventh:
\n
\n…leads to one harmonic destination – A minor seventh.<\/p>\n

The term 7-3-6 chord progression is used to refer to this chord progression when A minor is functioning as Chord 6 in the key of C major.<\/p>\n

I personally believe that both terms can be used interchangeably.<\/p>\n

However, you must know that the term “minor 2-5-1 chord progression” is generic while the term “7-3-6 chord progression” depicts the function of the minor 2-5-1 chord progression.<\/p>\n

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

All 7-3-6 chord progressions are minor 2-5-1 chord progression but not all minor 2-5-1 progressions are 7-3-6 chord progressions. –Jermaine Griggs<\/strong><\/p><\/blockquote>\n

If you forget every other thing in this post, don’t forget this quote by our president and founder. It sums up everything in this post.<\/p>\n

“All 7-3-6 chord progressions are minor 2-5-1 chord progressions…”<\/h3>\n

The 7-3-6 chord progression in the key of C:
\n<\/p>\n

Chord 7 (B half-diminished seventh):
\n
\nChord 3 (E dominant seventh):
\n
\nChord 6 (A minor seventh):
\n
\n…is a minor 2-5-1 chord progression.<\/p>\n

I dare not say why. We’ve already covered that. Look at the harmonic destination – minor chord quality.<\/p>\n

All 7-3-6 chord progressions, irrespective of the key they’re played in, are minor 2-5-1 chord progressions.<\/p>\n

“…not all minor 2-5-1 progressions are 7-3-6 chord progressions.”<\/h3>\n

Owing to different harmonic functions of chords, not all minor 2-5-1 chord progressions are 7-3-6 chord progressions.<\/p>\n

The minor 2-5-1 chord progression to A minor:<\/p>\n

<\/p>\n

Chord 2 (B half-diminished seventh):
\n
\nChord 5 (E dominant seventh):
\n
\nChord 1 (A minor seventh):
\n
\n…is no doubt a 7-3-6 chord progression in the key of C.<\/p>\n

Chord 7 (B half-diminished seventh):
\n
\nChord 3 (E dominant seventh):
\n
\nChord 6 (A minor seventh):
\n<\/p>\n

However, owing to changes in harmonic function, this same chord progression can take us to chord 2 in the key of G major (another harmonic function).<\/p>\n

In the key of G major…<\/p>\n

B is the third<\/strong> tone.
\nE is the sixth <\/strong>tone.
\nA is the second <\/strong>tone.<\/p><\/blockquote>\n

Therefore, the minor 2-5-1 chord progression above can be called a 3-6-2 chord progression in the key of G major:<\/p>\n

Chord 3 (B half-diminished seventh):
\n
\nChord 6 (E dominant seventh):
\n
\nChord 2 (A minor seventh):
\n<\/p>\n

This same chord progression can take us to chord 3 in the key of F major (a different harmonic function).<\/p>\n

In the key of F major…<\/p>\n

B is the sharp fourth<\/strong> tone.
\nE is the seventh <\/strong>tone.
\nA is the third <\/strong>tone.<\/p><\/blockquote>\n

Therefore, the minor 2-5-1 chord progression to A minor can also imply a #4-7-3 chord progression in the key of F major:<\/p>\n

Chord #4 (B half-diminished seventh):
\n
\nChord 7 (E dominant seventh):
\n
\nChord 3 (A minor seventh):
\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

“Who Else is Interested in a Proper Introduction To…”<\/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
  • \nChord 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":"

    Today, we\u2019ll be considering the relationship between the minor 2-5-1 progression and the 7-3-6 chord progression<\/p>\n","protected":false},"author":9,"featured_media":22958,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[33,1975,1976],"class_list":["post-12051","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-2-5-1-chord-progression","tag-7-3-6-chord-progression","tag-minor-2-5-1-chord-progression","post-wrapper","thrv_wrapper"],"yoast_head":"\nThe Minor 2-5-1 Chord Progression vs the 7-3-6 Chord Progression - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Today, we\u2019ll be considering the relationship between the minor 2-5-1 progression and the 7-3-6 chord progression\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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