Attention:<\/strong> Don’t worry if you’re not sure what mutual intervals<\/span> are, just keep reading, I’ll explain.<\/p>\n There are eight degrees in every key (whether major or minor.) In the key of C major: C is the first<\/p>\n D is the second<\/p>\n E is the third<\/p>\n F is the fourth<\/p>\n G is the fifth<\/p>\n A is the sixth<\/p>\n B is the seventh<\/p>\n C is the eighth<\/p><\/blockquote>\n The movement of chords from one degree of the scale to another produces a chord progression. For example, the C major triad: The 2-5-1 chord progression is a chord movement in a given key from chord 2, to chord 5, then to chord 1. In the key of C major: The 2-5-1 chord progression can be enhanced using the following seventh chord:<\/p>\n The D minor seventh chord: Before we explore how the major 2-5-1 chord progression can be played using mutual intervals, it’s important for us to explore the concept of mutual intervals<\/em>.<\/p>\n In the previous segment, we played the major 2-5-1 chord progression using seventh chords.<\/p>\n These seventh chords can be broken down into intervals that are complementary to each other – also known as mutual intervals.<\/p>\n The D minor seventh chord: D-A: F-C: A breakdown of the D minor seventh chord as mutual intervals can help in its rearrangement (aka – “voicing”.) Playing the mutual intervals in two consecutive octaves, produces a voicing of the D minor seventh chord: The mutual intervals can also be inverted. The interval D-A: The G dominant seventh chord: G-D: B-F: Playing these fifth intervals in two consecutive octaves produces a voicing of the G dominant seventh chord: It’s possible to play the G dominant seventh chord by inverting its mutual intervals. The interval G-D: A breakdown of the C major seventh chord: C-G: E-B: Using the mutual intervals derived, we can rearrange the C major seventh chord by playing the mutual intervals in two consecutive octaves. C-G: The mutual intervals can also be inverted. The interval C-G: In this segment, we’ll be putting the chord breakdown we did together in a major 2-5-1 chord progression.<\/p>\n In the key of C major: Chord 2: Chord 5: Chord 1: Chord 2: Chord 5: Chord 1: It’s no longer a secret that with just two notes in each hand (playing mutual intervals), one can play the major 2-5-1 chord progression.<\/p>\n Go ahead and practice the concept learned in all twelve keys and get ready because we’ll go further in our discussion by exploring minor 2-5-1 chord progressions and cyclical chord progressions in subsequent posts.<\/p>\n See you then!<\/p>\n","protected":false},"excerpt":{"rendered":" If you’re interested in learning how to play the major 2-5-1 chord progression using mutual intervals, this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22719,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[33,14,17,2093],"class_list":["post-12254","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-2-5-1-chord-progression","tag-2-5-1-chord-progressions","tag-basic-songs","tag-mutual-intervals","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Breakdown Of The Classic 2-5-1 Chord Progression<\/h2>\n
\n<\/p>\n
\n
\n…(which is the first scale degree chord in the key) can progress <\/em>to any other scale degree chord, like the D minor triad (which is chord 2):
\n
\n…the E minor triad (which is chord 3):
\n
\n…and so on.<\/p>\nThe Classic Major 2-5-1 Chord Progression – Explained<\/h3>\n
\n
\n…a 2-5-1 chord progression is a chord movement from chord 2 (the D minor triad):
\n
\n…to chord 5 (the G dominant seventh chord):
\n
\n…to chord 1 (the C major triad):
\n
\n“The 2-5-1 Chord Progression Using Seventh Chords…”<\/em><\/p>\n
\n
\nThe G dominant seventh chord:
\n
\nThe C major seventh chord:
\n
\nIn a nutshell, the chord progression is called a major 2-5-1 chord progression because it’s played in the major key.<\/p>\nChord Breakdown Into Mutual Intervals<\/h2>\n
“A Breakdown Of The ‘D Minor Seventh Chord’ Into Mutual Intervals”<\/em><\/h3>\n
\n
\n…can be broken down into fifth intervals:<\/p>\n
\n
\n…a perfect fifth interval.<\/p>\n
\n
\n…another perfect fifth interval.<\/p>\n
\n
\n“Hold On! There’s More…”<\/em><\/p>\n
\n
\n…can be inverted and played as A-D:
\n
\n…while the interval F-C:
\n
\n…can be inverted and played as C-F:
\n
\nIn a nutshell, there are two ways of playing the D minor seventh chord using mutual intervals – using fifth intervals:
\n
\n…and using fourth intervals:
\n<\/p>\n
“A Breakdown Of The ‘G Dominant Seventh Chord’ Into Mutual Intervals”<\/em><\/h3>\n
\n
\n…can also be broken down into fifth intervals:<\/p>\n
\n
\n…a perfect fifth interval.<\/p>\n
\n
\n…a diminished fifth interval.<\/p>\n
\n
\n“Let’s Invert The Mutual Intervals…”<\/em><\/p>\n
\n
\n…can be inverted and played as D-G:
\n
\n…while the interval B-F:
\n
\n…can be inverted and played as F-B:
\n
\nAltogether, you’ve just learned two ways of playing the G dominant seventh chord – using fifth intervals:
\n
\n…and using fourth intervals:
\n<\/p>\n
“A Breakdown Of The ‘C Major Seventh Chord’ Into Mutual Intervals”<\/em><\/h3>\n
\n
\n…into fifth intervals produces two mutual intervals:<\/p>\n
\n
\n…a perfect fifth interval.<\/p>\n
\n
\n…another perfect fifth interval.<\/p>\n
\n
\n…in one octave and E-B:
\n
\n…in the next octave to produce a voicing of the C major seventh chord:
\n
\n“In Addition To That…”<\/em><\/p>\n
\n
\n…can be inverted and played as G-C:
\n
\n…while the interval E-B:
\n
\n…can be inverted and played as B-E:
\n
\nIn a nutshell, we just learned two creative voicings of the D minor seventh chord using fifth intervals:
\n
\n…and fourth intervals:
\n
\nLet’s go ahead and apply these voicings in a major 2-5-1 chord progression.<\/p>\nThe Major 2-5-1 Chord Progression Using Mutual Intervals<\/h2>\n
\n
\n…a major 2-5-1 root progression moves from D:
\n
\n…to G:
\n
\n…then to C:
\n
\nUsing the voicings we derived in the previous segment, here are two major 2-5-1 chord progressions<\/p>\nExcerpt #1<\/h3>\n
\n
\n…using fifth intervals.<\/p>\n
\n
\n…using fifth intervals.<\/p>\n
\n
\n…using fifth intervals.<\/p>\nExcerpt #2<\/h3>\n
\n
\n…using fifth intervals.<\/p>\n
\n
\n…using fifth intervals.<\/p>\n
\n
\n…using fifth intervals.<\/p>\nFinal Words<\/h2>\n