{"id":14077,"date":"2016-07-07T00:00:00","date_gmt":"2016-07-07T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14077"},"modified":"2024-10-07T17:41:25","modified_gmt":"2024-10-08T01:41:25","slug":"chromatic-transposition-of-the-minor-2-5-1-chord-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/chromatic-transposition-of-the-minor-2-5-1-chord-progression\/","title":{"rendered":"The Chromatic Transposition Of The Minor 2-5-1 Chord Progression"},"content":{"rendered":"

This lesson is for anyone who wants to learn about the chromatic transposition of the minor 2-5-1 chord progression.<\/p>\n

In a previous lesson, we covered the relationship between the minor 2-5-1 chord progression and the 7-3-6 chord progression and now we’re taking our discussion to another level by exploring the chromatic transposition of the minor 2-5-1 chord progression. <\/p>\n

If the term “chromatic transposition” <\/em>does not sound familiar , don’t worry, we’ll be dwelling on it later.<\/p>\n

Although I’m writing this lesson with intermediate players in mind, beginners can also benefit from it as well because we’re starting out with a an overview of the minor 2-5-1 chord progression.<\/p>\n

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

Let’s get started by defining a chord progression:<\/p>\n

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

Before we proceed, I want you to take note of the word scale <\/em>in the definition of chord progression. The relationship between the movement of the root of chords is based on a given scale.<\/p>\n

Due to the fact that our focus in today’s lesson is on the minor 2-5-1 chord progression, we’ll be illustrating the movement of root notes in the minor key.<\/p>\n

Attention:<\/strong> There are three traditional scales<\/a> of the minor key – the natural minor<\/a>, harmonic minor<\/a>, and the melodic minor<\/a> scales. In this lesson, we’ll be using the natural and harmonic minor scales in the formation of chords and chord progressions in this lesson.<\/p>\n

Here’s a numerical representation of the scale degrees in the key of A minor:
\n<\/p>\n

A is 1<\/p>\n

B is 2<\/p>\n

C is 3<\/p>\n

D is 4<\/p>\n

E is 5<\/p>\n

F is 6<\/p>\n

G is 7<\/p>\n

A is 8<\/p><\/blockquote>\n

“From the numerical representation above, we can derive the 2-5-1 root movement…”<\/em><\/p>\n

B is 2:
\n
\nE is 5:
\n
\nA is 1:
\n
\n“Let’s go ahead and flesh those root notes with chords…”<\/em><\/p>\n

Chord 2 is the B half-dim7 chord:
\n
\nChord 5 is the E dom7 [#9,#5] chord:
\n
\nChord 1 is the A minor ninth chord:
\n
\nUsing voice leading principles<\/a>, here’s the minor 2-5-1 chord progression in the key of A minor…<\/p>\n

Chord 2 is the B half-dim7 chord:
\n
\nChord 5 is the E dom7 [#9,#5] chord:
\n
\nChord 1 is the A minor ninth chord:
\n
\nNow that we’ve covered the minor 2-5-1 chord progression, let’s explore it more by learning how it can be played in other related keys.<\/p>\n

A Short Note On Transposition<\/h2>\n

The term transposition <\/em>refers to the transfer of the position of a musical idea, be it a note, scale, interval, chord, chord progression or song. This can be done within a given key or from one key to another.<\/p>\n

Although there are mental and electronic approaches to transposition, however, we can’t discuss them because of time constraint.<\/p>\n

“All the same, here’s a typical example of transposition within a key…”<\/em><\/p>\n

Let’s transpose the interval C-F:
\n
\n…in the key of C.<\/p>\n

In the key of C:
\n
\n…the fourth interval (C-F):
\n
\n…can be transferred to the position of F:
\n
\n…by determining the interval between C and F. From C to F:
\n
\n…encompasses C, D, E, and F:
\n
\n…four scale tones in the C major scale:
\n
\n…therefore, transposing it to F:
\n
\n…means we’ll count four scale tones of the C major scale from F:
\n
\n…which are F, G, A, and B:
\n
\n…to derive F-B:
\n
\nIn the key of C:
\n
\n…the transposition of C-F:
\n
\n…to F produces F-B:
\n
\nAttention:<\/strong> The transposition of C-F (a perfect fourth interval) to F:
\n
\n…produced F-B:
\n
\n…an augmented fourth interval.<\/p>\n

“Take Note…”<\/em><\/p>\n

Transposition done within a given key does not always produce an interval that is exactly the same as the interval given. The transposition of C-F (a perfect interval) :
\n
\n…to F-B (an augmented interval):
\n
\n…is a typical example.<\/p>\n

There’s another type of transposition that produces an idea (be it a scale, interval, chord, or chord-progression) exactly the same way it is given and it’s called chromatic transposition<\/em>.<\/p>\n

Chromatic Transposition<\/h3>\n

There’s another approach to transposition where an idea in a given key is reproduced exactly in another key. Considering that there are twelve major keys, ideas can move from any given key to a designated key.<\/p>\n

The Chromatic Transposition Of Scales<\/strong><\/p>\n

The A minor scale:
\n
\n…can be transferred to the position of C:
\n
\n…and when this is done, the A minor scale is said to be chromatically<\/em> transposed.<\/p>\n

The Chromatic Transposition Of Intervals
\n<\/strong><\/p>\n

In the previous segment, we transposed C-F (a perfect fourth interval):
\n
\n…to the position of F:
\n
\n…and we derived F-B (an augmented fourth interval):
\n
\nThe chromatic transposition of C-F:
\n
\n…to the position of F:
\n
\n…produces F-Bb:
\n
\n…another perfect fourth interval.<\/p>\n

The Chromatic Transposition Of Chords<\/strong><\/p>\n

Chords can also be chromatically transposed. In the key of C major:
\n
\n…the C major:
\n
\n…and the D minor:
\n
\n…triads are chords 1 and 2.<\/p>\n

However, chord 1:
\n
\n…which consists of the 1st, 3rd, and 5th tones of the C major scale:
\n
\n…can be chromatically<\/em> transposed to the position of D:
\n
\n…by outlining the 1st, 3rd, and 5th tones of the D major scale:
\n
\n…which are D, F#, and A:
\n
\nThe product of the chromatic transposition of the C major triad:
\n
\n…to D (the 2nd degree of the scale):
\n
\n…produces a chromatic chord 2:
\n
\nIt’s called a chromatic chord because of F#:
\n
\n…a foreign note (chromatic note) in the key of C major:
\n
\n“In the same vein…”<\/em><\/strong><\/p>\n

Chord progressions can also be chromatically transposed. Let’s round up this study by doing a chromatic transposition of the minor 2-5-1 chord progression.<\/p>\n

The Chromatic Transposition Of The Minor 2-5-1 Chord Progression<\/h2>\n

The minor 2-5-1 chord progression can be used in the major key due to the relationship between major and minor keys. The keys of C major:
\n
\n…and A minor:
\n
\n…are said to be related because they contain exactly the same notes.<\/p>\n

In the key of C:
\n
\n…a minor 2-5-1 chord progression to A minor produces a root movement from B:
\n
\n…to E:
\n
\n…then to A:
\n
\n…which are the 7th, 3rd, and 6th tones:
\n
\n…of the C major scale, hence, a 7-3-6 chord progression<\/a>.<\/p>\n

The chromatic transposition <\/em>of the 2-5-1 chord progression in the key of A minor to other minor keys that are related<\/a> to the key of C major:<\/p>\n