{"id":14670,"date":"2016-09-24T00:00:00","date_gmt":"2016-09-24T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14670"},"modified":"2024-10-07T17:10:13","modified_gmt":"2024-10-08T01:10:13","slug":"jazzy-variations-of-the-classic-2-5-1-chord-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/jazzy-variations-of-the-classic-2-5-1-chord-progression\/","title":{"rendered":"7 Jazzy Variations Of The Classic 2-5-1 Chord Progression You Can Revolutionize Your Playing With"},"content":{"rendered":"

I’m excited to share on jazzy variations of the classic 2-5-1 chord progression with you in this lesson.<\/p>\n

Although this lesson is written with jazz pianists in mind, other players who want to spice up their 2-5-1 chord progression can also benefit from what we’re learning in this lesson.<\/p>\n

If you don’t really know what a 2-5-1 chord progression really is, you don’t need to worry because you’re the reason why I’m starting today’s lesson with a short note on chord progressions.<\/p>\n

“What Is A Chord Progression?”<\/em><\/h2>\n

A chord progression, which is also known as a harmonic progression is the movement of a series of chords.<\/p><\/blockquote>\n

Chord progressions can be classified into two broad types – diatonic and chromatic chord progressions – and we’re focusing on the former, which is the diatonic chord progression.<\/p>\n

In a diatonic chord progression<\/strong>, the movement of chords is from one degree of the scale to another.<\/p>\n

The key of C major:
\n
\n…has eight degrees (aka – “scale steps”.)<\/p>\n

C is 1<\/p>\n

D is 2<\/p>\n

E is 3<\/p>\n

F is 4<\/p>\n

G is 5<\/p>\n

A is 6<\/p>\n

B is 7<\/p>\n

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

A diatonic progression in the key of C, moves from one degree of the scale to another. Let’s say from C:
\n
\n…the first degree of the scale, to F:
\n
\n…the fourth degree of the scale.<\/p>\n

A chord progression from the first to the fourth degree of the scale is called a 1-4 chord progression. The numbers 1 and 4 are derived from the degrees involved in the chord progression.<\/p>\n

A Review Of The Classic 2-5-1 Chord Progression<\/h2>\n

A 2-5-1 chord progression is the movement of chords to the chord of the first degree (aka – “tonic triad) from the chords of the second and fifth degree.<\/p>\n

“Here’s The Root Progression Of The 2-5-1 Chord Progression”<\/em><\/p>\n

In the key of C major:
\n<\/p>\n

…the root notes of the 2-5-1 progression moves from the second degree of the scale (aka – “the two”):
\n
\n…to the fifth degree of the scale (aka – “the five”):
\n
\n…then to the final harmonic destination, which is the first degree of the scale (aka – “the one”):
\n
\nLet’s go ahead and form the chords of the basic 2-5-1 chord progression in the key of C.<\/p>\n

Chord 2<\/h3>\n

Chord 2 is the chord of the second degree in any given key. In the key of C:
\n
\n…the second degree of the scale is D:
\n
\nThere are various widths of chords that can be used as chord 2, ranging from the triad, to the seventh chord, and to extended chords.<\/p>\n

The triad<\/strong> for chord 2 is the D minor triad:
\n
\n…which is formed by picking D:
\n
\n…skipping E and picking F:
\n
\n…skipping G and picking A:
\n
\nThe seventh chord<\/strong> for chord 2 is the D minor seventh chord:
\n
\n…which is formed by picking D:
\n
\n…skipping E and picking F:
\n
\n…skipping G and picking A:
\n
\n…skipping B and picking C:
\n
\nThe extended chord<\/strong> for chord 2 is the D minor ninth chord:
\n
\n…which is formed by picking D:
\n
\n…skipping E and picking F:
\n
\n…skipping G and picking A:
\n
\n…skipping B and picking C:
\n
\n…skipping D and picking E:
\n<\/p>\n

Chord 5<\/h3>\n

Chord 5 is the chord of the fifth degree in any given key. In the key of C:
\n
\n…the fifth degree of the scale is G:
\n
\nThe triad<\/strong> for chord 5 is the G major triad<\/a>:
\n
\n…which is formed by picking G:
\n
\n…skipping A and picking B:
\n
\n…skipping C and picking D:
\n
\nThe seventh chord<\/strong> for chord 5 is the G dominant seventh chord<\/a>:
\n
\n…which is formed by picking G:
\n
\n…skipping A and picking B:
\n
\n…skipping C and picking D:
\n
\n…skipping E and picking F:
\n
\nThe extended chord<\/strong> for chord 5 is the G dominant ninth chord:
\n
\n…which is formed by picking G:
\n
\n…skipping A and picking B:
\n
\n…skipping C and picking D:
\n
\n…skipping E and picking F:
\n
\n…skipping G and picking A:
\n<\/p>\n

Chord 1<\/h3>\n

Chord 1 (which is known to music scholars as the tonic chord), is the chord of the first degree in any given key.<\/p>\n

In the key of C:
\n
\n…the first degree of the scale is C:
\n
\n“Check Out The Triad, Seventh, And Extended Chords Of The First Degree…”<\/em><\/p>\n

The triad<\/strong> for chord 1 is the C major triad:
\n
\n…which is formed by picking C:
\n
\n…skipping D and picking E:
\n
\n…skipping F and picking G:
\n
\nThe seventh chord<\/strong> for chord 1 is the C major seventh chord:
\n
\n…which is formed by picking C:
\n
\n…skipping D and picking E:
\n
\n…skipping F and picking G:
\n
\n…skipping A and picking B:
\n
\nThe extended chord<\/strong> for chord 1 is the C major ninth chord:
\n
\n…which is formed by picking C:
\n
\n…skipping D and picking E:
\n
\n…skipping F and picking G:
\n
\n…skipping A and picking B:
\n
\n…skipping C and picking D:
\n<\/p>\n

The Basic 2-5-1 Tradition In Jazz<\/h2>\n

The 2-5-1 chord progression is commonly used in jazz either to establish or contradict a key. Depending on the situation, the 2-5-1- chord progression can either be played using seventh or ninth chords.<\/p>\n

“Check It Out…”<\/em><\/p>\n

The 2-5-1 Chord Progression Using Seventh Chords<\/h3>\n

Here’s what a basic 2-5-1 chord progression looks like in the key of C…<\/p>\n

Chord 2:
\n
\n…the D minor seventh chord.<\/p>\n

Chord 5:
\n
\n…the G dominant seventh chord.<\/p>\n

Chord 1:
\n
\n…the C major seventh chord.<\/p>\n

Attention<\/strong>: In some occasions, the D minor seventh chord:
\n
\n…can be substituted with the D dominant seventh chord:
\n<\/p>\n

The 2-5-1 Chord Progression Using Ninth Chords<\/h3>\n

Using ninth chords, here’s what the 2-5-1 chord progression looks like in the key of C…<\/p>\n

Chord 2:
\n
\n…the D minor ninth chord.<\/p>\n

Chord 5:
\n
\n…the G dominant ninth chord.<\/p>\n

Chord 1:
\n
\n…the C major ninth chord.<\/p>\n

Also note that the D minor ninth chord:
\n
\n…can be substituted with the D dominant ninth chord:
\n<\/p>\n

Jazzy Variations Of The Classic 2-5-1 Chord Progression<\/h2>\n

Having covered the basic 2-5-1 chord progression, let’s learn other jazzy variations in other keys.<\/p>\n

Variation #1 – In The Key Of C<\/h3>\n

Chord 2:
\n
\n…the Ddom7 [#9,#5] chord.<\/p>\n

Chord 5:
\n
\n…the Gdom13 [#11] chord.<\/p>\n

Chord 1:
\n
\n…the Cmaj13 chord.<\/p>\n

Variation #2 – In The Key Of D<\/h3>\n

Chord 2:
\n
\n…the Edom13 [b9] chord.<\/p>\n

Chord 5:
\n
\n…the Adom13 chord.<\/p>\n

Chord 1:
\n
\n…the D6\/9 chord.<\/p>\n

Variation #3 – In The Key Of E<\/h3>\n

Chord 2:
\n
\n…the F#min9 chord.<\/p>\n

Chord 5:
\n
\n…the Bdom7[b9,#5] chord.<\/p>\n

Chord 1:
\n
\n…the E6\/9 chord.<\/p>\n

Variation #4 – In The Key Of F<\/h3>\n

Chord 2:
\n
\n…the Gdom13 [#11] chord.<\/p>\n

Chord 5:
\n
\n…the Cdom7[#9,#5] chord.<\/p>\n

Chord 1:
\n
\n…the Fdom9[13] chord.<\/p>\n

Variation #5 – In The Key Of G<\/h3>\n

Chord 2:
\n
\n…the Amin11 chord.<\/p>\n

Chord 5:
\n
\n…the Ddom13[b9] chord.<\/p>\n

Chord 1:
\n
\n…the Gmaj9[13] chord.<\/p>\n

Variation #6 – In The Key Of A<\/h3>\n

Chord 2:
\n
\n…the Bmin9 chord.<\/p>\n

Chord 5:
\n
\n…the Edom7[b9,#5] chord.<\/p>\n

Chord 1:
\n
\n…the Amaj9[13] chord.<\/p>\n

Variation #7 – In The Key Of B<\/h3>\n

Chord 2:
\n
\n…the C#dom13[#11] chord.<\/p>\n

Chord 5:
\n
\n…the F#dom13[#11] chord.<\/p>\n

Chord 1:
\n
\n…the Gmaj9 chord.<\/p>\n

Final Words<\/h2>\n

With all the 7 jazzy variations of the 2-5-1 we just learned, I have no doubt that you’ve added a few chords to your chordal vocabulary.<\/p>\n

I recommend that these chord progressions should be practiced in all twelve keys.<\/p>\n

See you in another lesson!<\/p>\n

P.S.<\/p>\n

This lesson was written with experienced players in mind. Therefore, it is believed that you know how to distribute chord tones between the left and right hands.<\/p>\n","protected":false},"excerpt":{"rendered":"

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