{"id":14860,"date":"2016-10-17T00:00:00","date_gmt":"2016-10-17T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14860"},"modified":"2024-10-07T15:28:26","modified_gmt":"2024-10-07T23:28:26","slug":"whether-gospel-jazz-2-5-1-chord-progressions-rock","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/whether-gospel-jazz-2-5-1-chord-progressions-rock\/","title":{"rendered":"Whether Gospel Or Jazz, These 2-5-1 Chord Progressions Rock"},"content":{"rendered":"

In today’s lesson, we’ll be learning important 2-5-1 chord progressions that can be applied in gospel and jazz styles.<\/p>\n

Although gospel and jazz music have the same cultural origin, they differ in a variety of ways – melody, harmony, rhythm, form and so on. Consequently, it’s not every jazzy 2-5-1 chord progression that can be applied to regular gospel songs.<\/p>\n

If you invest the next 20 minutes in this lesson, I’d be showing you some 2-5-1 chord progressions that gospel and jazz musicians have in common.<\/p>\n

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

A chord progression is a product of the movement of chords from one degree of the scale to another in a given key. In the key of C:<\/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 chord progression can be played by the movement from one degree of the scale (maybe C):
\n
\n…to another (maybe F):
\n
\nThe movement from the C major triad (aka – “chord one”):
\n
\n…to the F major triad (aka – “chord four”):
\n
\n…is described as the 1-4 chord progression because of the movement from the first to the fourth degree of the scale.<\/p>\n

“So, What Is A 2-5-1 Chord Progression?”<\/em><\/h3>\n

The numbers 2, 5 and 1 are used to outline the scale degrees in a chord progression. So, a 2-5-1 chord progression is basically a movement of chords from the second degree (2), to the fifth degree (5), then to the first degree (1.)<\/p>\n

In the key of C, a 2-5-1 chord progression would move from D (the second degree):
\n
\n…to G (the fifth degree):
\n
\n…and then to C (the first degree):
\n
\n“Let’s Flesh It Out With Triads…”<\/em><\/p>\n

The 2-5-1 chord progression in the key of C:
\n
\n…can be played with following triads…<\/p>\n

D minor triad:
\n
\nG major triad:
\n
\nC major triad:
\n
\n“…Seventh Chords…”<\/em><\/p>\n

Beyond triads<\/a>, seventh chords<\/a> can be applied to the 2-5-1 chord progression. In the key of C, the 2-5-1 chord progression can be played thus:<\/p>\n

From the D minor seventh chord:
\n
\n…to the G dominant seventh chord:
\n
\n…to the C major seventh chord:
\n
\n…using seventh chords.<\/p>\n

“…And Ninth Chords…”<\/em><\/p>\n

The 2-5-1 chord progression can be further sophisticated using ninth chords. In the key of C:
\n
\n…a 2-5-1 chord progression using ninth chords starts from the D minor ninth chord:
\n
\n…to the G dominant ninth chord:
\n
\n…and ends on the C major ninth chord:
\n<\/p>\n

The Gospel Musician’s Approach To The 2-5-1 Chord Progression<\/h3>\n

There are 2-5-1 chord progressions that are commonly heard among gospel musicians, especially those who are not exposed to jazz piano harmony and chord voicings.<\/p>\n

“Check Them Out…”<\/em><\/p>\n

Example #1<\/h4>\n

The Ddom13[add9] chord:
\n
\n…to the Gdom7[b9] chord:
\n
\n…to the Cadd9 chord:
\n<\/p>\n

Example #2<\/h4>\n

The D half-diminished seventh chord:
\n
\n…to the Gdom13[b9] chord:
\n
\n…to the Cmaj9 chord:
\n<\/p>\n

Example #3<\/h4>\n

The Ddom7[b9] chord:
\n
\n…to the Gdom7[b9] chord:
\n
\n…to the Cadd9 chord:
\n<\/p>\n

How Jazz Musicians Approach The 2-5-1 Chord Progression<\/h3>\n

In jazz harmony, there’s room for advanced chord voicings, chord substitutions, and more. Although there’s no generally accepted way to play the classic 2-5-1 chord progression, let’s take three common examples.<\/p>\n

Example #1<\/h4>\n

The Ddom13 chord:
\n
\n…to the Gdom7[#9,#5] chord:
\n
\n…to the Cdom13[add9] chord:
\n<\/p>\n

Example #2<\/h4>\n

The Ddom7[#9,#5] chord:
\n
\n…to the Gdom7[b9,#5] chord:
\n
\n…to the Cmaj9 chord:
\n<\/p>\n

“In A Nutshell…”<\/em><\/h3>\n

There are a variety of characteristic differences between the gospel musician’s approach and the jazz musician’s approach to the 2-5-1 chord progression. One striking difference is in the voicing of chords.<\/p>\n

For example, the Ddom13[add9] chord is voiced this way:
\n
\n…by a vast majority of gospel musicians, while jazz musicians may approach it differently using the fourth voicing technique:
\n<\/p>\n

2-5-1 Chord Progressions That Gospel And Jazz Musicians Share In Common<\/h2>\n

The influence of jazz in all popular music styles is undeniable and gospel music is not left behind. So many gospel musicians who have a jazz music background, exposure or training are gradually bridging the divide between jazz and gospel harmony.<\/p>\n

Consequently, there are two possibilities:<\/p>\n

    \n
  • To play a jazzy 2-5-1 chord progression in a gospel song<\/li>\n
  • To use a gospel music approach to a 2-5-1 chord progression in a jazz standard<\/li>\n<\/ul>\n

    …and I’ll be showing you some 2-5-1 chord progressions that can work anywhere – whether in a gospel or a jazz song.<\/p>\n

    Progression #1<\/h3>\n

    The Dmin11 chord:
    \n
    \n…to the Gdom7[#5] chord:
    \n
    \n…to the Cmaj9 chord:
    \n
    \n“Commentary…”<\/em><\/strong><\/p>\n

    Progression #1 features an open voicing of the Dmin11 chord and the Gdom7[#5] chord which are commonly heard and can be applied in contemporary jazz and gospel music.<\/p>\n

    Progression #2<\/h3>\n

    The DminMaj9 chord:
    \n
    \n…to the Gdom7[b9] chord:
    \n
    \n…to the C6\/9 chord:
    \n
    \n“Commentary…”<\/em><\/strong><\/p>\n

    Progression #2 features a rarely used ninth chord – the minMaj9 chord – the first scale degree ninth chord of the melodic minor scale, that progresses to the dom7b9 chord – one of the commonly used chords in gospel and jazz music. The progression ends with a fourth voicing of the 6\/9 chord.<\/p>\n

    Progression #3<\/h3>\n

    The Ddom13[#11] chord:
    \n
    \n…to the Gdom13 chord:
    \n
    \n…to the Cmaj9[add13] chord:
    \n
    \n“Commentary…”<\/em><\/strong><\/p>\n

    Progression #3 features the Ddom13[#11] chord, which progresses to a fourth voicing of the Gdom13 chord that is commonly used by gospel and jazz musicians, before resolving to the Cmaj9[add13] chord, another exotic fourth voicing.<\/p>\n

    Progression #4<\/h3>\n

    The Ddom7[b9,b5] chord:
    \n
    \n…to the Gdom13[b9] chord:
    \n
    \n…to the Cmaj9[add13] chord:
    \n
    \n“Commentary…”<\/em><\/strong><\/p>\n

    Progression #4 starts out with an altered chord – the Ddom7[b9,b5] chord, before progressing to an upper structure voicing of the Gdom13[b9] chord, and then resolving to the C6\/9 chord. Although the first two chords in this excerpt sound jazzy, trust me when I say they can be applied in gospel songs.<\/p>\n

    Final Words<\/h2>\n

    I’m sure you’ve expanded your chordal vocabulary with these exceptional 2-5-1 chord progressions that are applicable to both gospel and jazz styles, which we just learned.<\/p>\n

    In another lesson, we’ll be looking at variations of cyclical chord progressions that are commonly used by gospel and jazz musicians.<\/p>\n

    See you then!<\/p>\n","protected":false},"excerpt":{"rendered":"

    If you’re interested in learning 2-5-1 chord progressions that can be applied in gospel and jazz styles, this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22745,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,21,9],"tags":[209,33,14,1253,1256,17,39,5],"class_list":["post-14860","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-gospel-music","category-piano","tag-2-5-1","tag-2-5-1-chord-progression","tag-2-5-1-chord-progressions","tag-2-5-1-progression","tag-2-5-1-progressions","tag-basic-songs","tag-gospel","tag-jazz","post-wrapper","thrv_wrapper"],"yoast_head":"\nWhether Gospel Or Jazz, These 2-5-1 Chord Progressions Rock - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"If you're interested in learning 2-5-1 chord 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