{"id":16597,"date":"2017-04-21T00:00:00","date_gmt":"2017-04-21T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=16597"},"modified":"2024-10-07T00:56:42","modified_gmt":"2024-10-07T08:56:42","slug":"the-application-of-upperstructure-voicings-in-a-2-5-1-chord-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/the-application-of-upperstructure-voicings-in-a-2-5-1-chord-progression\/","title":{"rendered":"The Application Of Upper-structure Voicings In A 2-5-1 Chord Progression"},"content":{"rendered":"

Our focus in this lesson is on the application of upper-structure voicings in a 2-5-1 chord progression.<\/p>\n

Upper structure voicings are mostly used by advanced players or intermediate players who are interested in playing full sounding chords — using both hands.<\/p>\n

Whether you’re an intermediate or an advanced player reading this lesson, there’s something for you because we’ll be exploring how the 2-5-1 chord progression (which is one of the most important chord progressions) can be played using upper-structure voicings.<\/p>\n

Let’s get started by doing a review on upper-structure voicings.<\/p>\n

An Explanation On What Upper-structure Voicings Are<\/h2>\n

Voicing is the consideration of the notes of a chord as voices – soprano, alto, tenor, and bass. Due to this consideration, the notes of a chord are rearranged using what is known to music scholars as voicing techniques<\/strong>.<\/p>\n

In the concept of voicing, there are tons of voicing techniques that are used to rearrange the notes of a chord and the upper-structure voicing technique is one of them.<\/p>\n

The upper-structure voicing technique is used in the rearrangement of extended chords like (ninths, elevenths, and thirteenths), in such a way that a triad is played as the upper part.<\/p>\n

It is the the triad in the upper part that is referred to as the upper structure<\/em>.<\/p>\n

“Take A Look At This One…”<\/em><\/p>\n

The notes of the C dominant thirteenth [sharp eleventh] chord:
\n
\n…can be rearranged in such a way that we’ll have a D major triad (played in first inversion):
\n
\n…over a C dominant seventh chord:
\n
\n…to produce the upper-structure voicing of the C dominant thirteenth [sharp eleventh] chord:
\n
\nSo, upper-structure voicings are produced by the rearrangement of the notes of a given extended chord in such a way that a triad is played as its upper part.<\/p>\n

A Short Note On The 2-5-1 Chord Progression<\/h2>\n

There are eight scale degrees in every key. For example, in the key of Db major:
\n<\/p>\n

Db is the first degree<\/p>\n

Eb is the second degree<\/p>\n

F is the third degree<\/p>\n

Gb is the fourth degree<\/p>\n

Ab is the fifth degree<\/p>\n

Bb is the sixth degree<\/p>\n

C is the seventh degree<\/p>\n

Db is the eighth degree<\/p><\/blockquote>\n

Chords formed on any scale-degree are known as scale -degree chords. In the key of Db major:
\n
\n…the movement of scale degree chords from the second degree (chord 2):
\n
\n…to the fifth degree (chord 5):
\n
\n…then to the first degree (chord 1):
\n
\n…produces the 2-5-1 chord progression.<\/p>\n

Following the same procedure, the 2-5-1 chord progression can be played in any key by progressing from chord 2 to chord 5, then to chord 1.<\/p>\n

Now that we’ve covered the 2-5-1 chord progression, let’s go ahead and explore some 2-5-1 chord progressions using upper-structure voicings.<\/p>\n

The 2-5-1 Chord Progression Using Upper-structure Voicings<\/h2>\n

In the key of C major:
\n
\n…a 2-5-1 chord progression can be outlined using a root progression<\/em> from D (which is the 2nd scale tone):
\n
\n…to G (which is the 5th scale tone):
\n
\n…then to C (which is the 1st scale tone):
\n
\nAll 2-5-1 examples would be based in the key of C. Feel free to transpose to any key of your choice.<\/p>\n

Example #1<\/h3>\n

Chord 2:
\n
\n…the D minor ninth chord, with the A minor triad (as the upper-structure triad):
\n
\nChord 5:
\n
\n…the G dominant seventh [sharp ninth, sharp fifth] chord, with the Eb major triad (as the upper-structure triad):
\n
\nChord 1:
\n
\n…the C major ninth chord, with the E minor triad (as the upper-structure triad):
\n<\/p>\n

Example #2<\/h3>\n

Chord 2:
\n
\n…the D dominant thirteenth [sharp eleventh] chord, with the E major triad (as the upper-structure triad):
\n
\nChord 5:
\n
\n…the G dominant thirteenth [flat ninth] chord, with the E major triad (as the upper-structure triad):
\n
\nChord 1:
\n
\n…the C dominant seventh [add sixth] chord, with the A minor triad (as the upper-structure triad):
\n<\/p>\n

Example #3<\/h3>\n

Chord 2:
\n
\n…the D dominant ninth chord, with the A minor triad (as the upper-structure triad):
\n
\nChord 5:
\n
\n…the G dominant thirteenth [flat ninth] chord, with the E major triad (as the upper-structure triad):
\n
\nChord 1:
\n
\n…the C major ninth chord, with the G major triad (as the upper-structure triad):
\n<\/p>\n

Final Words<\/h2>\n

Attention:<\/strong> Most of the chords used in the 2-5-1 chord progressions are chromatic chords. They are called chromatic chords – not just because they are colorful,<\/em> but because they are consisted of notes that are foreign to the prevalent key (which is C major in this case.)<\/p>\n

Feel free to transpose these 2-5-1 chord progressions to other keys and see you in the lesson.<\/p>\n

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

Learn more about the application of upperstructure voicings in the 2-5-1 chord progression in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":22631,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[33,14,17,2161,2303],"class_list":["post-16597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-2-5-1-chord-progression","tag-2-5-1-chord-progressions","tag-basic-songs","tag-upper-structure-voicing","tag-upper-structure-voicing-technique","post-wrapper","thrv_wrapper"],"yoast_head":"\nThe Application Of Upper-structure Voicings In A 2-5-1 Chord Progression - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Learn more about the application of upperstructure voicings in the 2-5-1 chord progression in 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