{"id":12255,"date":"2016-12-22T00:00:00","date_gmt":"2016-12-22T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12255"},"modified":"2024-10-07T14:48:29","modified_gmt":"2024-10-07T22:48:29","slug":"minor-2-5-1-chord-progression-using-mutual-intervals","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/minor-2-5-1-chord-progression-using-mutual-intervals\/","title":{"rendered":"A Lesson On The Minor 2-5-1 Chord Progression Using Mutual Intervals"},"content":{"rendered":"

If you’re interested in learning an alternate approach to the minor 2-5-1 chord progression, this lesson is for you.<\/p>\n

We’ve already learned a lot about the major 2-5-1 chord progression in previous lessons, giving the minor 2-5-1 chord progression little or no attention.<\/p>\n

But in today’s lesson, we’ll be focusing on how the minor 2-5-1 chord progression can be played with mutual intervals. But before then, let’s do a thorough review on the minor 2-5-1 chord progression.<\/p>\n

“What Is A Minor 2-5-1 Chord Progression?”<\/em><\/h2>\n

Every key (whether major or minor) has eight degrees:<\/p>\n

The first degree is the tonic<\/strong><\/p>\n

The second degree is the supertonic<\/strong><\/p>\n

The third degree is the mediant<\/strong><\/p>\n

The fourth degree is the subdominant<\/strong><\/p>\n

The fifth degree is the dominant<\/strong><\/p>\n

The sixth degree is the submediant<\/strong><\/p>\n

The seventh degree is the subtonic<\/strong><\/p>\n

The eighth degree is the octave<\/strong><\/p><\/blockquote>\n

The harmonic movement of chords from one degree in the key to another creates a chord progression. For example, in the key of C major:
\n
\n…the movement from the C major triad (which is the chord of the first degree):
\n
\n…to the E minor triad (which is the chord of the third degree):
\n
\n…produces a 1-3 chord progression. It’s a 1-3 chord progression because of the harmonic movement from chord 1 to chord 3.<\/p>\n

The Minor 2-5-1 Chord Progression – Explained<\/em><\/h3>\n

The harmonic movement from the chord of the second degree to the chord of the fifth degree, then to the chord of the first degree in a minor key produces a minor 2-5-1 chord progression.<\/p>\n

The most important thing to note is that the minor 2-5-1 chord progression is in the minor key. So, simply put, the minor 2-5-1 chord progression can be defined as a 2-5-1 chord progression in a minor key.<\/p>\n

In the key of A minor:
\n
\n…a 2-5-1 root progression entails a movement from B (the second degree):
\n
\n…to E (the fifth degree):
\n
\n…to A (the first degree):
\n
\n“Here’s The Minor 2-5-1 Chord Progression Using Seventh Chords…”<\/em><\/p>\n

Using the scale degree seventh chords of the A harmonic minor scale:
\n
\n…and the A natural minor scale:
\n
\n…the minor 2-5-1 chord progression can be played by progressing from the B half-diminished seventh chord:
\n
\n…to the E dominant seventh chord:
\n
\n…then to the A minor seventh chord:
\n<\/p>\n

A Short Note On The Concept Of Mutual Intervals<\/h2>\n

Every chord, irrespective of its size, class, and quality, can be broken down into intervals. For example, the C major seventh chord:
\n
\n…can be broken down into the following intervals:<\/p>\n

C-E:
\n
\n…a major third interval.<\/p>\n

C-G:
\n
\n…a perfect fifth interval.<\/p>\n

C-B:
\n
\n…a major seventh interval.<\/p>\n

The Breakdown Of A Seventh Chord Into Mutual Fifth Intervals<\/h3>\n

The intervals that a chord can be broken down into are known as its intervallic components, and a seventh chord can be broken down into mutual intervals. For example, the C major seventh chord:
\n
\n…can be broken down into two mutual perfect fifth intervals:<\/p>\n

C-G:
\n
\n…a perfect fifth interval.<\/p>\n

E-B:
\n
\n…which is also a perfect fifth interval.<\/p>\n

In the same vein, all seventh chords can be broken down into mutual fifth intervals, and can be applied to the minor 2-5-1 chord progression. Proceed to the next segment to learn more.<\/p>\n

How To Play The Minor 2-5-1 Progression Using Mutual Intervals<\/h2>\n

The minor 2-5-1 chord progression can be played using the concept of mutual intervals. With that, two notes are played in each hand.<\/p>\n

For example, chord 2 – the B half-diminished seventh chord:
\n
\n…can be played using these two mutual intervals:<\/p>\n

The D perfect fifth interval:
\n
\n…played over the B diminished fifth interval:
\n
\nAltogether, that’s the B half-diminished seventh chord:
\n
\nChord 5 – the E dominant seventh chord:
\n
\n…can be played using these two mutual intervals:<\/p>\n

The G# diminished fifth interval:
\n
\n…played over the E perfect fifth interval:
\n
\nAltogether, that’s the E dominant seventh chord:
\n
\nChord 1 – the A minor seventh chord:
\n
\n…can be played using these two mutual intervals:<\/p>\n

The C perfect fifth interval:
\n
\n…played over the A perfect fifth interval:
\n<\/p>\n

Altogether, that’s the A minor seventh chord:
\n
\n“But There’s More…”<\/em><\/p>\n

Playing the minor 2-5-1 chord progression using the mutual intervals approach is not smooth either when played or heard. Consequently, we’ll need to apply certain voice-leading principles that will aid smoothness in the chord progression.<\/p>\n

Voice-leading Considerations For The Minor 2-5-1 Chord Progression<\/h3>\n

In music theory, it’s no longer a secret that in a cyclical chord progressions<\/a> (where the root movement is in fourth or fifth intervals), successive chords have notes in common. For example, the B half-diminished seventh chord:
\n
\n…and the E dominant seventh chord:
\n
\n…have B and D:
\n
\n…in common – and that’s two notes.<\/p>\n

Consequently, in the chord progression from the B half-diminished seventh chord to the E dominant seventh chord, the notes both chords have in common are retained, while other chord tones move to the nearest possible options. The retention of B and D:
\n
\n…in the B half-diminished seventh chord:
\n
\n…entails the downward movement of the upper chord tones (F and A):
\n
\n…to E and G#:
\n
\n…which are the nearest possible options, to form the E dominant seventh chord:
\n<\/p>\n

“Let’s Apply This Voice-Leading Consideration To The Minor 2-5-1 Chord Progression Using Mutual Intervals…”<\/em><\/p>\n

In the minor 2-5-1 chord progression we learned earlier, the B half-diminished seventh chord:
\n
\n…progresses to the E dominant seventh chord by the retention of B and D:
\n
\n…and the downward movement of F and A:
\n
\n…to E and G#:
\n<\/p>\n

Before the movement of all the voices to the A minor seventh chord:
\n<\/p>\n

“Altogether…”<\/em><\/p>\n

Chord 2:
\n
\n…the B half-diminished seventh chord, progresses to chord 5:
\n
\n…the E dominant seventh chord, then to the A minor seventh chord:
\n<\/p>\n

Final Words<\/h2>\n

Using the concept of mutual intervals, the minor 2-5-1 chord progression can be played effortlessly in all minor keys and this is because of every chord is reduced to an interval in each hand.<\/p>\n

In a subsequent post, we’ll explore other interesting approaches to playing the minor 2-5-1, until then, do your best to practice what we’ve learned in all twelve minor keys.<\/p>\n

Thank you for your time!<\/p>\n","protected":false},"excerpt":{"rendered":"

Today’s lesson will show you another approach to playing the minor 2-5-1 chord progression using mutual intervals.<\/p>\n","protected":false},"author":9,"featured_media":22679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[17,1976,2093],"class_list":["post-12255","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-basic-songs","tag-minor-2-5-1-chord-progression","tag-mutual-intervals","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Lesson On The Minor 2-5-1 Chord Progression Using Mutual Intervals - Hear and Play Music Learning Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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