{"id":13744,"date":"2016-05-06T00:00:00","date_gmt":"2016-05-06T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13744"},"modified":"2024-10-07T18:43:54","modified_gmt":"2024-10-08T02:43:54","slug":"connecting-the-major-and-minor-2-5-1-chord-progressions","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/connecting-the-major-and-minor-2-5-1-chord-progressions\/","title":{"rendered":"Connecting The Major And Minor 2-5-1 Chord Progressions"},"content":{"rendered":"

We’ll be connecting the major and minor 2-5-1 chord progressions in this lesson.<\/p>\n

A chord progression is the [harmonic<\/a>] movement of chords from one degree of the scale to another.<\/p><\/blockquote>\n

The C major scale has eight degrees:
\n
\n…and the harmonic movement from the tonic chord:
\n
\n…to the chord of the third degree:
\n
\n…is a chord progression. Chord progressions according to Jermaine Griggs (2016), “…are like blood flow<\/strong>. They keep the music alive.” <\/em><\/p>\n

If you give me the next ten minutes or so, you’ll be learning the major and minor 2-5-1 progressions and how you can connect them together.<\/p>\n

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

The 2-5-1 chord progression is the strongest chord progression in tonal music<\/em>, obviously because of the cyclical movement in fifths.<\/p>\n

Every major or minor key has a scale. This scale orders the tones of the key from the tonic to the octave.<\/p>\n

Suggested reading: What Are Scale Degree Or Technical Names<\/a>?<\/p>\n

These tones can also be numbered from one to eight. The C major scale:
\n
\n…and the C minor scale:
\n
\n…can be ordered numerically from one to eight. Check out the table below…<\/p>\n

\n\n\n\n\n\n
Scale Tones<\/b><\/td>\n1st<\/td>\n2nd<\/td>\n3rd<\/td>\n4th<\/td>\n5th<\/td>\n6th<\/td>\n7th<\/td>\n8th<\/td>\n<\/tr>\n
C Major<\/b><\/td>\nC<\/td>\nD<\/td>\nE<\/td>\nF<\/td>\nG<\/td>\nA<\/td>\nB<\/td>\nC<\/td>\n<\/tr>\n
C Minor<\/b><\/td>\nC<\/td>\nD<\/td>\nEb<\/td>\nF<\/td>\nG<\/td>\nAb<\/td>\nBb<\/td>\nC<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

The term 2-5-1 defines the movement of the root of chords in progression<\/em>, from the second degree to the fifth degree of the scale, and then from the fifth degree of the scale to the first degree of the scale.<\/p>\n

In the key of C major and C minor, the second, fifth, and first tones of the scale are D:
\n
\n…G:
\n
\n…and C:
\n
\n…respectively.<\/p>\n

The Effect Of Tonality In The 2-5-1 Chord Progression<\/h2>\n

In music, there are two distinct tonalities<\/a> (popularly known as key.) One is the major key<\/a> and another is the minor key.<\/p>\n

These tonalities have their peculiarities in scales, intervals, chords, chord progressions, and even songs.<\/p>\n

Peculiarity In Scale<\/strong><\/h3>\n

The C major scale:
\n
\n…and the C minor scale:
\n
\n…are founded on the same letter name<\/a>, however, they differ from each other because of tonality.<\/p>\n

Peculiarity In Chord
\n<\/strong><\/h3>\n

The C major tonic triad:
\n
\n…and the C minor tonic triad:
\n
\n…are founded on the same letter name<\/a>, however, they differ from each other in terms of quality.<\/p>\n

In the same vein, the C major 2-5-1 differs from the C minor 2-5-1 and the destination of each of the chord progressions is to different tonic chords<\/a> – which makes each of them peculiar.<\/p>\n

Let’s quickly learn the major and minor 2-5-1 chord progressions using seventh chords.<\/p>\n

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

A 2-5-1 chord progression in the key of C major:
\n
\n…would involve D:
\n
\n…G:
\n
\n…and C:
\n
\nLet’s form scale degree seventh chords in the key of C major on D, G, and C, which are chords 2, 5, and 1.<\/p>\n

Chord 2<\/h4>\n

The root of chord 2 is in the second tone of the C major scale – D:
\n
\nAdding other tones in thirds…<\/p>\n

D and F:
\n
\n…and A:
\n
\n…and C:
\n
\n…produces the D minor seventh chord, that encompasses seven degrees of the scale from D to C:
\n<\/p>\n

Chord 5<\/h4>\n

The root of chord 5 is in the fifth tone of the C major scale, which is G:
\n
\nIf we add other chord tones in thirds…<\/p>\n

G and B:
\n
\n…and D:
\n
\n…and F:
\n
\n…this would form the G dominant seventh chord, encompassing seven degrees of the [C major] scale from G to F:
\n<\/p>\n

Chord 1<\/h4>\n

The root of chord 1 is in the first tone of the C major scale – C:
\n
\nAdding other tones in thirds…<\/p>\n

C and E:
\n
\n…and G:
\n
\n…and B:
\n
\n…produces the C major seventh chord, that encompasses seven degrees of the scale from C to B:
\n
\nIf we put these chords together, we’ll have…<\/p>\n

The D minor seventh chord:
\n
\n…chord 2, then the G dominant seventh chord:
\n
\n…chord 5, then the C major seventh chord:
\n
\n…chord 1.<\/p>\n

Due to what music scholars call voice leading principles<\/em>, the major 2-5-1 chord progression is usually played thus:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n
\nSuggested reading: Voice Leading Techniques for Approaching The 2-5-1 Chord Progression<\/a>.<\/p>\n

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

A 2-5-1 chord progression in the key of C minor:
\n
\n…involves D:
\n
\n…G:
\n
\n…and C:
\n
\nLet’s form scale degree seventh chords in the key of C minor – on D, G, and C – which are chords 2, 5, and 1.<\/p>\n

Chord 2<\/h4>\n

The root of chord 2 is in the second tone of the C natural minor scale – D:
\n
\nAdding other tones in thirds…<\/p>\n

D and F:
\n
\n…and Ab:
\n
\n…and C:
\n
\n…produces the D half-diminished seventh chord, that encompasses seven degrees of the C minor scale from D to C:
\n<\/p>\n

Chord 5<\/h4>\n

The root of chord 5 is in the fifth tone of the C harmonic minor scale, which is G:
\n
\nIf we add other chord tones in thirds…<\/p>\n

G and B:
\n
\n…and D:
\n
\n…and F:
\n
\n…this would form the G dominant seventh chord:
\n
\n…encompassing seven degrees of the [C harmonic minor] scale from G to F:
\n
\nSubmission: <\/strong>The use of the harmonic minor scale here in chord 5 is because of the shortcomings of the natural minor scale<\/a>.<\/p>\n

Chord 1<\/h4>\n

The root of chord 1 is in the first tone of the C natural minor scale – C:
\n
\nAdding other tones in thirds…<\/p>\n

C and Eb:
\n
\n…and G:
\n
\n…and Bb:
\n
\n…produces the C minor seventh chord, that encompasses seven degrees of the scale from C to Bb:
\n
\nIf we put these chords together, we’ll have…<\/p>\n

The D half-diminished seventh chord:
\n
\n…chord 2, then the G dominant seventh chord:
\n
\n…chord 5, then the C minor seventh chord:
\n
\n…chord 1.<\/p>\n

If we apply voice leading principles<\/em>, the minor 2-5-1 chord progression can be connected smoothly thus:<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n
\nBefore we end today’s lesson, let’s connect the major and minor 2-5-1 chord progression.<\/p>\n

Connecting The Major And Minor 2-5-1 Chord Progression<\/h2>\n

In a previous lesson on key relationships<\/a>, we covered relative keys. In this segment, we’ll be connecting 2-5-1 chord progressions in two relative keys – a major key and a minor key.<\/p>\n

The key of A minor:
\n
\n…is the relative key of C major:
\n
\nTherefore, the goal of this segment is to show you step by step, how you can connect the 2-5-1 chord progression in these two keys.<\/p>\n

Check it out…<\/p>\n

The 2-5-1 chord progression to C major consists of the following chords…<\/p>\n

D minor seventh chord:
\n
\nG dominant seventh chord:
\n
\nC major seventh chord:
\n
\n…while the 2-5-1 chord progression to A minor (which is the relative key) consists of the following chords…<\/p>\n

B half-diminished seventh chord:
\n
\nE dominant seventh chord:
\n
\nA minor seventh chord:
\n
\nIf we put the root of these progressions together we’ll have:<\/p>\n

D – G – C and B – E – A<\/p><\/blockquote>\n

Using the number system<\/a>, we can breakdown the root progressions [using the C major scale as a reference] thus:<\/p>\n

2<\/p>\n

5<\/p>\n

1<\/p>\n

7<\/p>\n

3<\/p>\n

6<\/p><\/blockquote>\n

Here’s what it looks like in the key of C…<\/p>\n

Take note that there are fourths [or fifths] in between the root of the chord progressions…<\/p>\n

D to G:
\n
\nG to C:
\n
\nB to E:
\n
\nE to A:
\n
\n…are all fourths.<\/p>\n

A chord progression that involves a root movement in a certain interval<\/a> is known as a cyclical progression<\/a>. In the key of C:
\n
\n…a cyclical progression in fourths from D:
\n
\n…the second degree of the scale, moves in fourths in this manner…<\/p>\n

D to G:
\n
\nG to C:
\n
\nC to F:
\n
\nF to B:
\n
\nB to E:
\n
\nE to A:
\n
\nA to D:
\n
\nHere’s what it looks like:<\/p>\n

Altogether, we have the major 2-5-1 (aka – “2-5-1 chord progression”):
\n
\n…and the minor 2-5-1 (aka – “7-3-6 chord progression”):
\n
\n…linked together by the fourth degree of the scale:
\n
\nIn a nutshell, in between the major and minor 2-5-1 chord progression in relative keys lies the fourth degree.<\/p>\n

Great job! Let’s put it together.<\/p>\n

Putting It Together<\/h2>\n

The scale degree chord of the fourth degree is a major seventh chord. In the key of C, it’s the F major seventh chord:
\n
\nLet’s connect the major and minor 2-5-1 chord progressions in the keys of C major and A minor together…<\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n
\n…brings us to the end of the major 2-5-1 chord progression.<\/p>\n

Chord 4:
\n
\n…is the harmonic link between the major and minor 2-5-1 chord progression.<\/p>\n

Chord 7:
\n
\nChord 3:
\n
\nChord 6:
\n
\n…brings us to the end of the minor 2-5-1 chord progression<\/a>.<\/p>\n

I hope you’ve learned how to connect the major and minor 2-5-1 chord progressions. Please, do me the favor of practicing this in all keys.<\/p>\n

All the best!<\/p>\n","protected":false},"excerpt":{"rendered":"

In today’s lesson, we’ll be connecting the major and minor 2-5-1 chord progressions.<\/p>\n","protected":false},"author":9,"featured_media":22858,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[33,14,1253,17,2098,2097,1976],"class_list":["post-13744","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-chord-progressions","tag-2-5-1-progression","tag-basic-songs","tag-connecting-2-5-1-chord-progressions","tag-major-2-5-1-chord-progression","tag-minor-2-5-1-chord-progression","post-wrapper","thrv_wrapper"],"yoast_head":"\nConnecting The Major And Minor 2-5-1 Chord Progressions - 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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