{"id":12290,"date":"2016-02-13T00:00:00","date_gmt":"2016-02-13T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12290"},"modified":"2024-10-14T06:07:23","modified_gmt":"2024-10-14T14:07:23","slug":"mastering-2-5-1-progression-using-skeleton-voicings","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/mastering-2-5-1-progression-using-skeleton-voicings\/","title":{"rendered":"Mastering The  2-5-1 Progression Using Skeleton Voicings"},"content":{"rendered":"<p>In this post, we\u2019ll be mastering the art of playing the &#8220;A-B-A&#8221; 2-5-1 progression using the skeleton voicing technique.<\/p>\n<p><b>Attention:<\/b> If you\u2019re reading this post and you\u2019re not deeply rooted in the knowledge of skeleton voicings and &#8220;A &amp; B&#8221; voicing techniques, I want you to redirect to the following pages:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.hearandplay.com\/main\/play-seventh-chords-with-two-notes\">Skeleton voicings<\/a><\/li>\n<li><a href=\"https:\/\/www.hearandplay.com\/main\/drop-2-vs-b-voicing-techniques-2-5-1-chord-progressions\">A &amp; B Voicing Styles of the 2-5-1<\/a><\/li>\n<li><a href=\"https:\/\/www.hearandplay.com\/main\/2-5-1-progression-b-voicing-technique-vs-skeleton-voicings\">2-5-1 Progression: &#8220;A &amp; B&#8221; Voicing Technique vs Skeleton Voicings<\/a><\/li>\n<\/ul>\n<p>\u2026before continuing with this post.<\/p>\n<p>Reading beyond this point is for those who are familiar with the basic concepts we&#8217;ve covered in previous posts and want to master and effortlessly play them in all keys.<\/p>\n<h2>General Review<\/h2>\n<p>Before we get into the main business, let me refresh your mind by reviewing some of the concepts we covered in the past.<\/p>\n<h3>Review of Skeleton Voicing<\/h3>\n<p>Suggested Reading: <a href=\"https:\/\/www.hearandplay.com\/main\/play-seventh-chords-with-two-notes\">Skeleton voicing<\/a><\/p>\n<p>As humans, we all have a skeletal system that consists of 206 bones that provide us support and rigidity.<\/p>\n<p>Chords also have skeletons.<\/p>\n<p>The third and seventh tone of a chord is its skeleton. It\u2019s called the skeleton because even when other notes are omitted, even the root, you can still recognize what chord it is.<\/p>\n<p>Check out the skeleton voicing of various seventh chords below&#8230;<\/p>\n<p>C major seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nC minor seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Eb,Bb,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nC dominant seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Bb,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><\/p>\n<h3><strong>Review of A &amp; B Voicing<\/strong><\/h3>\n<p>Suggested reading: <a href=\"https:\/\/www.hearandplay.com\/main\/drop-2-vs-b-voicing-techniques-2-5-1-chord-progressions\">A &amp; B Voicing Styles of the 2-5-1<\/a><\/p>\n<p>Voicing is the consideration of the notes of a chord as voices.<\/p>\n<p>Owing to this consideration, the notes are often times rearranged and these rearrangements are known as voicings.<\/p>\n<p>A &amp; B voicings are rearrangements that focus on the order of the third and seventh tones of the chord (aka \u2013 \u201cskeleton\u201d).<\/p>\n<p><b>The A voicing<\/b> is the default arrangement of seventh chords. The third comes before the seventh. Here\u2019s the A voicing of C major seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n<b>The B voicing<\/b> is a rearrangement that reverses the order of the &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/skeleton-in-the-chordboard\">skeleton in the chordboard<\/a>.&#8221; When a chord is played in B voicing, the seventh comes before the third. Check out the B voicing of C major seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,C,E&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n<b><\/b><\/p>\n<h3><b>Review of 2-5-1 Chord Progression<\/b><\/h3>\n<p>Suggested reading: <a href=\"https:\/\/www.hearandplay.com\/main\/2-5-1-progression-b-voicing-technique-vs-skeleton-voicings\">2-5-1 Progression: &#8220;A &amp; B&#8221; Voicing Technique vs Skeleton Voicings<\/a><\/p>\n<p>The 2-5-1 chord progression is a chord movement from the second to the fifth degree of the scale, then to the first degree of the scale.<\/p>\n<p>In the key of C major, the 2-5-1 chord progression will connect the following chords:<\/p>\n<ul>\n<li>D minor seventh<\/li>\n<li>G dominant seventh<\/li>\n<li>C major seventh<\/li>\n<\/ul>\n<p>Using the \u201cA-B-A\u201d style, here\u2019s the 2-5-1 chord progression in the key of C major\u2026<\/p>\n<p>Chord 2:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,F,A,C&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nChord 5:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,F,G,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nChord 1:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><\/p>\n<h2><b>2-5-1 Chord Progression: A-B-A Style Using Skeleton Voicings<\/b><\/h2>\n<p>The 2-5-1 chord progression can be played in A-B-A style.<\/p>\n<blockquote><p><b>A<\/b> voicing of Chord 2<br \/>\n<b>B<\/b> voicing of Chord 5<br \/>\n<b>A<\/b> voicing of Chord 1<\/p><\/blockquote>\n<p>The goal of this post is to show you what it takes to play this progression in all keys with absolute ease and here are two aspects that can help you achieve that:<\/p>\n<ul>\n<li style=\"text-align: left\" align=\"center\">How to move from chord 2 to chord 5<\/li>\n<li style=\"text-align: left\" align=\"center\">How to move from chord 5 to chord 1<\/li>\n<\/ul>\n<p>Let\u2019s get started.<\/p>\n<h3><b><i>\u201cHow do I move from chord 2 to chord 5?\u201d<\/i><\/b><\/h3>\n<p>Here\u2019s the movement from chord 2 to chord 5 in the key of C:<\/p>\n<p>Chord 2:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,,F,C&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n\u2026to chord 5:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,,F,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nLet\u2019s analyze the difference between the skeletons of both chords.<\/p>\n<h3><b>The third of chord 2 is the seventh of chord 5<\/b><\/h3>\n<p>The third tone of the D minor seventh chord is F and this is also the seventh tone of the G dominant seventh.<\/p>\n<p>The F tone that is repeated in both chords is what I call the <b>immovable joint of the skeletons<\/b> (an informal term).<\/p>\n<p>Now that you know the immovable part of the skeleton, let\u2019s look at the movable joint of the skeletons.<\/p>\n<h3><b>Lowering the seventh of chord 2 by a half step would produce the third of chord 5<\/b><\/h3>\n<p>The seventh tone of the D minor seventh chord is C.<\/p>\n<p>Lowering it by a half step would take us down to B:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><\/p>\n<p>Considering that there\u2019s movement in the skeletons, I use the informal term <i>the <b>moveable joint of the skeleton <\/b><\/i>to refer to the connection between the seventh of chord 2 and the third of chord 5.<\/p>\n<p>If you\u2019re given the skeleton voicing of chord 2 to produce chord 5 in any key, you\u2019ll have to determine the moveable and immovable joints, then apply the principle above.<\/p>\n<p><b>Attention:<\/b> The third of chord 2 is the immovable part while its seventh is the moveable part.<\/p>\n<p><b>Example # 1 &#8211; Given the skeleton voicing of chord 2 in G major, determine chord 5.<\/b><\/p>\n<p>Chord 2 in G major is the A minor seventh chord.<\/p>\n<p>Given the skeleton voicing of A minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=A,,,C,G&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nThe first thing that should come to your mind is that the third tone (which is C in this case) is immoveable.<\/p>\n<p>Lowering the seventh tone (G) by a half step would produce the skeleton voicing of chord 5. Check it out:<\/p>\n<p>Given C-G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,G&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nIf G is lowered by a half step, this will produce C-F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,Fs&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nIf played over D on the bass:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,,,C,Fs&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;this will produce the skeleton of chord 5.<\/p>\n<p>After mastering the concepts I\u2019m showing you in this post, you can now go ahead and imbibe proper <a href=\"https:\/\/www.hearandplay.com\/main\/musical-homonyms-importance-spelling-music\">spelling guidelines<\/a> for chords.<\/p>\n<p>If you go ahead and apply that in all the keys, you\u2019ll have the 2-5 chord progression.<\/p>\n<p>Let\u2019s consider the 5-1 chord progression even as we begin to round up.<\/p>\n<h2><b><i>\u201cHow do I move from chord 5 to chord 1?\u201d <\/i><\/b><\/h2>\n<p>Here\u2019s the movement from chord 5 to chord 1 in the key of C:<\/p>\n<p>Chord 5:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n\u2026to chord 1:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,E,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><\/p>\n<p>I trust that you are already familiar with the analysis we did earlier in this segment. It\u2019s similar to what we also have here. <\/p>\n<p><b>The third of chord 5 is the seventh of chord 1.<\/b><\/p>\n<p>The third tone of the G dominant seventh chord is B (which is also the seventh tone of the C major seventh chord.)<\/p>\n<p>That makes the B tone the <b>immovable joint of the skeleton<\/b>.<\/p>\n<p><b>Lowering the seventh of chord 5 by a half step would produce the third of chord 1.<\/b><\/p>\n<p>The seventh tone of the G dominant seventh chord is F.<\/p>\n<p>Lowering it by a half step would take us down to E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nThis is <i>the <b>moveable joint of the skeletons <\/b><\/i>of chord 5 and chord 1.<\/p>\n<p>Determination of the moveable and immovable joints and the application of the principle above, will help you move from chord 5 to chord 1 with the greatest ease.<b><\/b><\/p>\n<p><b>Attention:<\/b> The third of chord 5 is the immovable part while its seventh is the moveable part.<\/p>\n<p>Considering that the skeleton of chord 5 is played in B voicing:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nThis means that the seventh (moveable joint) comes before the third (immovable part).<\/p>\n<p><b>Example # 1 &#8211; Given the skeleton voicing of chord 5 in G major, determine chord 1.<\/b><\/p>\n<p>Chord 5 in G major is the D dominant seventh chord.<\/p>\n<p>Given the skeleton voicing of D dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,,,C,Fs&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nLowering the seventh tone (C) by a half step would produce the skeleton voicing of chord 1. Check it out&#8230;<\/p>\n<p>Given C-F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,Fs&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nIf C is lowered by a half step, this will produce B-F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,Fs&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\nIf played over G on the bass, this will produce the skeleton of chord 1.<\/p>\n<p>Following the same procedure, the 5-1 chord progression can be played in all the keys.<\/p>\n<p>Let\u2019s round up by putting it together.<\/p>\n<h2><b>Putting it together<\/b><\/h2>\n<p>To effectively play the 2-5-1 chord progression in all keys, all you need is to determine the moveable joint of the skeletons.<\/p>\n<p>In the key of C, moving from chord 2:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,,F,C&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to chord 5:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is as easy as lowering C to B (movable joint), while F remains (immovable joint).<\/p>\n<p>Then from chord 5:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to chord 1:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,E,B,&amp;color=FFCC00&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;you&#8217;ll lower F to E (movable joint), while B remains (immovable joint).<\/p>\n<p>Do you see what I see?<\/p>\n<p>The third of each chord is always retained (immovable) while the seventh is always movable in 2-5-1 progressions. <\/p>\n<p>If you master the movable and immovable joints of the skeletons, you can play the 2-5-1 chord progression with the slightest effort.<\/p>\n<p>See you next time!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this post, we\u2019ll be mastering the art of playing the &#8220;A-B-A&#8221; 2-5-1 progression using the skeleton voicing technique.<\/p>\n","protected":false},"author":9,"featured_media":22941,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[701,14,1256,1999],"class_list":["post-12290","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-1-6-2-5-1-tritones","tag-2-5-1-chord-progressions","tag-2-5-1-progressions","tag-skeleton-voicings","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mastering The 2-5-1 Progression Using Skeleton Voicings - Hear and Play 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