{"id":14371,"date":"2016-09-16T00:00:00","date_gmt":"2016-09-16T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14371"},"modified":"2024-10-07T17:23:37","modified_gmt":"2024-10-08T01:23:37","slug":"cyclical-progressions-using-three-note-voicings","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/cyclical-progressions-using-three-note-voicings\/","title":{"rendered":"A Lesson On How To Play Cyclical Progressions Using Three Note Voicings"},"content":{"rendered":"

In this lesson, we’ll be exploring how we can play cyclical progressions using three note voicings.<\/p>\n

Jazz and gospel players have a way of playing or voicing their chords [especially extended chords] by omitting certain notes in the chord, and this produces exactly the same chord but with three notes.<\/p>\n

In the previous lesson, we covered three note voicing. But in this lesson, we are taking it a step further by exploring cyclical progressions using this three note voicing.<\/p>\n

A proper way to start this lesson is to do a review of what cyclical progressions are.<\/p>\n

“What Are Cyclical Progressions?”<\/em><\/h2>\n

A chord progression is the movement of chords from one degree of a scale to another. Every key [whether major<\/a> or minor<\/a>] has its traditional scale.<\/p>\n

The key of C major:
\n
\n…has the C natural major scale<\/a>:
\n
\n…as its traditional scale, and chords move from one degree of the C natural major scale to another.<\/p>\n

C:
\n
\n…is the first degree<\/strong>.<\/p>\n

D:
\n
\n…is the second degree.<\/strong><\/p>\n

E:
\n
\n…is the third degree.<\/strong><\/p>\n

F:
\n
\n…is the fourth degree.<\/strong><\/p>\n

G:
\n
\n…is the fifth degree.<\/strong><\/p>\n

A:
\n
\n…is the sixth degree.<\/strong><\/p>\n

B:
\n
\n…is the seventh degree.<\/strong><\/p>\n

…and C:
\n
\n…is the eighth degree.<\/strong><\/p>\n

Attention:<\/strong> The eighth degree is a duplicate of the first degree and is usually excluded in the number system. Every movement to the eighth degree of the scale is considered a movement to the first degree of the scale because the first and eighth degree have the same letter name (C.)<\/p>\n

In a chord progression, the idea is to move from one degree of the scale to another. However, there are predictable chord progressions that move in a certain interval, and are known as cyclical progressions<\/a>.<\/p>\n

The strongest and most common cyclical progression moves in fifth intervals. Have you ever wondered why a chord progression from the fifth degree to the first degree in any key creates a strongest sense of finality<\/em> that ends songs 95% of the time<\/a>.<\/p>\n

So consequently, chord progressions that move in fifths are strong and are the best option. And if we begin to create progressions in fifths, we would have cyclical chord progressions.<\/p>\n

For example, in the key of C:
\n
\n…a fifth from C:
\n
\n…is G:
\n
\n…and another fifth from G:
\n
\n…is D:
\n
\nSo a cyclical progression in fifth intervals moves (backwards) from D:
\n
\n…to G:
\n
\n…to C:
\n
\n…and this produces a 2-5-1 chord progression.<\/p>\n

The D:
\n
\n…moves down to G:
\n
\n…a fifth below, and down to C (a fifth below):
\n<\/p>\n

We can expand this cyclical progression and make it bigger by adding a fifth above D:
\n
\n…which is A:
\n
\n…and another fifth above A (which is E):
\n
\n…so altogether, E (which is the third degree of the scale):
\n
\n…to A (which is the sixth degree of the scale):
\n
\n…to D (which is the second degree of the scale):
\n
\n…to G (which is the fifth degree of the scale):
\n
\n…to C (which is the first degree of the scale):
\n
\nThe 2-5-1 chord progression just got bigger, we now have a 3-6-2-5-1 chord progression, which can be expanded (in fifth intervals) until we add the seventh:
\n
\n…and the fourth:
\n
\n…degrees to form a 4-7-3-6-2-5-1 chord progression.<\/p>\n

“Here’s The 4-7-3-6-2-5-1 Root Progression In The Key Of C…”<\/em><\/p>\n

The fourth tone (F):
\n
\n…to the seventh tone (B):
\n
\n…which takes us down to the third tone (E):
\n
\n…then to the sixth tone (A):
\n
\n…the second tone (D):
\n
\n…the fifth tone (G):
\n
\n…and lastly, to the first tone (C):
\n<\/p>\n

In actuality, you don’t have to spread the notes throughout the entire keyboard section. Here’s an easier way to navigate through the 4-7-3-6-2-5-1 cyclical progression…<\/p>\n

From the first:
\n
\n…to the fourth:
\n
\n…to the seventh:
\n
\n…to the third:
\n
\n…to the sixth:
\n
\n…to the second:
\n
\n…to the fifth:
\n
\n…and to the first:
\n
\n“Here’s A Breakdown Of The Root Progression In Ascents And Descents Of Fourths And Fifths Respectively…”<\/em><\/p>\n

From the first:
\n
\n…to the fourth:
\n
\n…is the descent of a fifth interval<\/strong>.<\/p>\n

From the fourth:
\n
\n…to the seventh:
\n
\n…is another ascent of a fourth interval<\/strong>.<\/p>\n

From the seventh:
\n
\n…to the third:
\n
\n…is the descent of a fifth interval<\/strong>.<\/p>\n

From the third:
\n
\n…to the sixth:
\n
\n…is the ascent of a fourth interval<\/strong>.<\/p>\n

From the sixth:
\n
\n…to the second:
\n
\n…is the descent of a fifth interval<\/strong>.<\/p>\n

From the second:
\n
\n…to the fifth:
\n
\n…is the ascent of a fourth interval<\/strong>.<\/p>\n

From the fifth:
\n
\n…to the first:
\n
\n…is the descent of a fifth interval<\/strong>.<\/p>\n

That’s basically how cyclical progressions move in any given key.<\/p>\n

Scale Degree Seventh\/Ninth Chords<\/h3>\n

Let’s take a look at the qualities of the chords that are used in cyclical progressions, which I don’t want to assume that you’re already aware of.<\/p>\n

So, in the key of C:
\n
\nChord one is the C major seventh:
\n
\nChord two is the D minor seventh:
\n
\nChord three is the E minor seventh:
\n
\nChord four is the F major seventh:
\n
\nChord five is the G dominant seventh:
\n
\nChord six is the A minor seventh:
\n
\nChord seven is the B half-diminished seventh:
\n
\nWe’ll also be adding the ninth (an extension) to these basic seventh chords. For example, the C major seventh chord can be upgraded to a C major ninth chord by adding a ninth (D):
\n
\n…to the C major seventh chord:
\n
\n…to form the C major ninth chord:
\n
\nTo the D minor seventh chord:
\n
\n…we can also add its ninth (E):
\n
\n…to form the D minor ninth chord:
\n
\nBefore we continue our discussion on cyclical chord progressions, let’s learn about three note voicings.<\/p>\n

A Quick Review On Three Note Voicings<\/h2>\n

We already covered three note voicings in a previous lesson, however, I’ll want us to discuss briefly on it before we move ahead.<\/p>\n

The three note voicing concept is usually used to voice (or rearrange) the chord tones of seventh and ninth chords with preference for the third, seventh, and ninth tones.<\/p>\n

In the reduction of the Cmaj9 chord:
\n
\n…to a three note voicing, the first two notes to consider are the third (E) and the seventh (B):
\n
\n…and then the ninth (D):
\n
\nThese three important notes (E, B, and D):
\n
\n…can be played as the three note voicing of the C major ninth chord:
\n
\n…over C on the bass.<\/p>\n

In the three note voicing of the Cmaj7 chord:
\n
\n…the seventh (B) and\u00a0third (E) tones:
\n
\n…are considered first, then the fifth:
\n
\n…this gives a three note voicing of the Cmaj7 chord:
\n
\nAltogether, here’s the three note voicing of the Cmaj9 chord:
\n
\n…and the three note voicing of the Cmaj7 chord:
\n
\nThe three note voicing of the C major ninth chord consists of the third, seventh and ninth chord tones, and is known as a 3-7-9 voicing, while the three note voicing of the C major seventh chord consists of the seventh, third, and fifth chord tones, and is known as a 7-3-5 voicing.<\/p>\n

The 3-7-9 and 7-3-5 voicing should be learned for various chord qualities like:<\/p>\n

    \n
  • Major chords<\/li>\n
  • Minor chords<\/li>\n
  • Dominant chords<\/li>\n
  • Altered chords<\/li>\n<\/ul>\n

    …because they are mostly used in chord progressions.<\/p>\n

    Before we look at cyclical chord progression with these three note voicings, let’s take a look at the 3-7-9 and 7-3-5 voicing of chords.<\/p>\n

    Chord one can either be played with the 3-7-9 voicing (Cmaj9):
    \n
    \n…or the 7-3-5 voicing (Cmaj7):
    \n
    \nChord two can either be played with the 3-7-9 voicing (Dmin9):
    \n
    \n…or the 7-3-5 voicing (Dmin7):
    \n
    \nChord three can either be played with the 3-7-9 voicing (E Alt):
    \n
    \n…or the 7-3-5 voicing (E Alt):
    \n
    \nChord four can either be played with the 3-7-9 voicing (Fmaj9):
    \n
    \n…or the 7-3-5 voicing (Fmaj7):
    \n
    \nChord six can either be played with the 3-7-9 voicing (Amin9):
    \n
    \n…or the 7-3-5 voicing (Amin7):
    \n
    \nChord six can either be played with the 3-7-9 voicing (A Alt):
    \n
    \n…or the 7-3-5 voicing (A Alt):
    \n
    \nChord seven can either be played with the 3-7-9 voicing (B Alt):
    \n
    \n…or the 7-3-5 voicing (B Alt):
    \n<\/p>\n

    Cyclical Chord Progressions Using Three Note Voicings<\/h2>\n

    Cyclical chord progressions can be approached in two ways…<\/p>\n

      \n
    • Starting with the 7-3-5 voicing of chord 2<\/li>\n
    • Starting with the 3-7-9 voicing of chord 2<\/li>\n<\/ul>\n

      …and we’ll be covering both approaches in this segment starting from the use of the 7-3-5 voicing of chord 2…<\/p>\n

      Chord 2:
      \n
      \n…the 7-3-5 voicing of the D minor seventh chord.<\/p>\n

      Chord 5:
      \n
      \n…the 3-7-9 voicing of the G dominant ninth chord.<\/p>\n

      Chord 1:
      \n
      \n…the 7-3-5 voicing of the C major seventh chord.<\/p>\n

      Chord 4:
      \n
      \n…the 3-7-9 voicing of the F major ninth chord.<\/p>\n

      Chord 7:
      \n
      \n……the 7-3-5 voicing of the B half-diminished seventh chord.<\/p>\n

      Chord 3:
      \n
      \n…is the 3-7-9 of the E altered chord.<\/p>\n

      Chord 6:
      \n
      \n…is the 7-3-5 of the A minor seventh chord and another chord 6:
      \n
      \n…which is the 7-3-5 voicing of the A altered chord.<\/p>\n

      So altogether we have:<\/p>\n

      2:
      \n
      \n…5:
      \n
      \n…1:
      \n
      \n…4:
      \n
      \n…7:
      \n
      \n…3:
      \n
      \n…6:
      \n
      \n…6:
      \n
      \nThen the alternate progression starts from the 3-7-9 voicing of chord 2…<\/p>\n

      Chord 2:
      \n
      \n…the 3-7-9 voicing of the D minor ninth chord.<\/p>\n

      Chord 5:
      \n
      \n…the 7-3-5 voicing of the G dominant\u00a0seventh chord.<\/p>\n

      Chord 1:
      \n
      \n…the\u00a03-7-9 voicing of the C major ninth chord.<\/p>\n

      Chord 4:
      \n
      \n…the 7-3-5 voicing of the F major seventh chord.<\/p>\n

      Chord 7:
      \n
      \n……the 3-7-9 voicing of the B half-dim7 (maj9) chord.<\/p>\n

      Chord 3:
      \n
      \n…is the 7-3-5 voicing of the E altered chord.<\/p>\n

      Chord 6:
      \n
      \n…is the 3-7-9 voicing of the A minor ninth chord and another chord 6:
      \n
      \n…which is the 3-7-9 voicing of the A altered chord.<\/p>\n

      Putting all the chords together, we have:<\/p>\n

      2:
      \n
      \n…5:
      \n
      \n…1:
      \n
      \n…4:
      \n
      \n…7:
      \n
      \n…3:
      \n
      \n…6:
      \n
      \n…6:
      \n
      \n“End Of The First Cycle And Beginning Of The Second Cycle…”<\/em><\/p>\n

      2:
      \n
      \n…5:
      \n
      \n…1:
      \n
      \n…4:
      \n
      \n…7:
      \n
      \n…3:
      \n
      \n…6:
      \n
      \n…6:
      \n<\/p>\n

      Final Words<\/h2>\n

      By making it to the end of this lesson, you’ve shown how serious you are about learning cyclical chord progressions using three note voicings.<\/p>\n

      The practice journal that will help you play these cyclical chord progressions in all twelve keys will be uploaded soon, so, keep an eye on this page.<\/p>\n

      See you in the next lesson!<\/p>\n","protected":false},"excerpt":{"rendered":"

      In this lesson, we’ll be exploring how we can play cyclical progressions using three note voicings.<\/p>\n","protected":false},"author":9,"featured_media":22775,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[2215,2094],"class_list":["post-14371","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-cyclical-progression","tag-three-note-voicings","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Lesson On How To Play Cyclical Progressions Using Three Note Voicings - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we'll be exploring how we can play cyclical progressions using three note voicings.\" \/>\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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