{"id":18674,"date":"2018-12-05T00:00:00","date_gmt":"2018-12-05T08:00:00","guid":{"rendered":"https:\/\/www.hearandplay.com\/main\/?p=18674"},"modified":"2024-10-05T06:14:14","modified_gmt":"2024-10-05T14:14:14","slug":"jazz-improvisation-essential-scale-options-for-the-major-2-5-1-chord-progression","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/jazz-improvisation-essential-scale-options-for-the-major-2-5-1-chord-progression\/","title":{"rendered":"Jazz Improvisation: Essential Scale Options For The Major 2-5-1 Chord Progression"},"content":{"rendered":"

Our goal in this lesson is to explore essential scale options for the major 2-5-1 chord progression.<\/p>\n

In jazz harmony, the major 2-5-1 chord progression is one of the most important progressions and this is because its destination is the 1-chord (which is usually the first and last chord in a vast majority of songs).<\/p>\n

One of the ways an intermediate jazz keyboardist can learn how to improvise is with the major 2-5-1 chord progression and a good way to start is by learning the scale options that are compatible with the chords.<\/p>\n

Right before we jump into learning the scale options, let’s refresh our minds on the 2-5-1 chord progression.<\/p>\n

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

A chord progression is a product of the movement from one scale tone chord to another.<\/p><\/blockquote>\n

There are seven scale tone chords in every major key. In the key of C major:
\n
\n…here are the scale degree seventh chords:<\/p>\n

The C major seventh chord (which is the 1-chord):
\n
\nThe D minor seventh chord (which is the 2-chord):
\n
\nThe E minor seventh chord (which is the 3-chord):
\n
\nThe F major seventh chord (which is the 4-chord):
\n
\nThe G dominant seventh chord (which is the 5-chord):
\n
\nThe A minor seventh chord (which is the 6-chord):
\n
\nThe B half-diminished seventh chord (which is the 7-chord):
\n<\/p><\/blockquote>\n

The movement from the 2-chord:
\n
\n…to the 5-chord:
\n
\n…then the 1-chord:
\n
\n…is described as the major 2-5-1 chord progression.<\/p>\n

“Here’s A Smoother Major 2-5-1 Chord Progression…”<\/em><\/p>\n

The 2-chord:
\n
\nThe 5-chord:
\n
\nThe 1-chord:
\n
\n“Check Out The Major 2-5-1 Chord Progression Using Ninth Chords…”<\/em><\/p>\n

The 2-chord:
\n
\nThe 5-chord:
\n
\nThe 1-chord:
\n<\/p>\n

Scale Options For The 2-chord<\/h2>\n

The 2-chord in the major key is a minor chord and there are tons of scales that can be played over the 2-chord. However, we’ll be learning a few of them that top the list.<\/p>\n

The Dorian Scale<\/h3>\n

The D Dorian scale:
\n
\n…is a scale option for the 2-chord which can be any of the following:<\/p>\n

D minor triad:
\n
\nD minor seventh chord:
\n
\nD minor ninth chord:
\n
\nD minor eleventh chord:
\n<\/p><\/blockquote>\n

It’s possible to start the Dorian scale on its first, third, fifth, and seventh tones:<\/p>\n

1st tone is D:
\n
\n3rd tone is F:
\n
\n5th tone is A:
\n
\n7th tone is C:
\n<\/p><\/blockquote>\n

The Dorian Bebop Scale<\/h3>\n

In between the third and fourth tone of the Dorian scale is a chromatic note. In the D Dorian scale:
\n
\n…in between F and G (which are the third and fourth tones):
\n
\n…is F# (a chromatic tone):
\n
\nThe addition of the chromatic tone to the Dorian scale produces the Dorian bebop scale. Here’s the D Dorian bebop scale:
\n
\n…with the chromatic note (F#):
\n
\nAttention:<\/strong> Join the Jazz Intensive Training Center<\/a> to learn more about this.<\/p>\n

Multiple Major Pentatonic Scales (1, 4, and 5)<\/h3>\n

There are multiple pentatonic scales that can be played over the 2-chord. But we’ll be focusing on the major pentatonic scales of the first, fourth, and fifth tones of the key you’re in.<\/p>\n

In the key of C major:
\n
\n…the following pentatonic scales can be played over the 2-chord:<\/p>\n

The C major pentatonic scale:
\n
\nThe F major pentatonic scale:
\n
\nThe G major pentatonic scale:
\n<\/p><\/blockquote>\n

…and these are the major pentatonic scales of the first, fourth, and fifth tones respectively.<\/p>\n

These pentatonic scales can be played over any of the following 2-chords in the key of\u00a0 C major: the D minor triad, the D minor seventh chord, the D minor ninth chord, and the D minor eleventh chord.<\/p>\n

The Melodic Minor Scale<\/h3>\n

The ascending form of the D melodic minor scale:
\n
\n…can be used as a scale option to improvise over the 2-chord in the key of C major.<\/p>\n

Scale Options For The 5-chord<\/h2>\n

The 5-chord in the key of C major:
\n
\n…is not limited to any of the following:<\/p>\n

The G major triad:
\n
\nThe G dominant seventh chord:
\n
\nThe G dominant ninth chord:
\n<\/p><\/blockquote>\n

Let’s look at the scale options for the 5 chord.<\/p>\n

The Mixolydian Scale<\/h3>\n

The G mixolydian scale:
\n
\n…is a great scale option for the 5-chord in the key of C major.<\/p>\n

Don’t forget to start and end the scale on the first, third, fifth, and seventh tones of the scale which are G, B, D, and F:<\/p>\n

G:
\n
\nB:
\n
\nD:
\n
\nF:
\n<\/p><\/blockquote>\n

…to produce the following varieties:<\/p>\n

From the first tone (which is G):
\n
\nFrom the third tone (which is B):
\n
\nFrom the fifth tone (which is D):
\n
\nFrom the seventh tone (which is F):
\n<\/p><\/blockquote>\n

Attention:<\/strong> Join the Jazz Intensive Training Center<\/a> to learn more about this.<\/p>\n

The Mixolydian Bebop Scale<\/h3>\n

There’s a chromatic note between the seventh and eighth tone in the Mixolydian scale. Using the G Mixolydian scale as a reference:
\n
\n…the chromatic tone between the seventh tone (F):
\n
\n…and eighth tone (G):
\n
\n…is F#:
\n
\nAdding the chromatic tone to the Mixolydian scale produces the Mixolydian bebop scale. Here’s the G Mixolydian bebop scale:
\n
\n…with the chromatic tone (F#):<\/p>\n

The Lydian Dominant Scale<\/h3>\n

The Lydian dominant scale is the fourth mode of the melodic minor. Raising the fourth tone of a Mixolydian scale by a half-step produces the Lydian dominant scale.<\/p>\n

The G Mixolydian scale:
\n
\n…can be used to form the G Lydian dominant scale by raising the fourth tone of the G Mixolydian scale (which is C):
\n
\n…by a half-step (to C#):
\n
\n…produces the G Lydian dominant scale:
\n
\n…which is compatible with the 5-chord in the key of C major.<\/p>\n

Attention:<\/strong> Join the Jazz Intensive Training Center<\/a> to learn more about this.<\/p>\n

The Spanish Phrygian Scale<\/h3>\n

The fifth mode of the harmonic minor scale is the Spanish Phrygian scale. The G Spanish Phrygian scale:
\n
\n…is a great scale option for the 5-chord; especially for the dominant seventh [flat ninth] chord.<\/p>\n

Try playing the G Spanish Phrygian scale:
\n
\n…over the G dominant seventh [flat ninth] chord:
\n
\n…and let me know what you think.<\/p>\n

The Octatonic (H-W) Scale<\/h3>\n

The Octatonic (half-whole) scale is a suitable scale option for the 5-chord. In the key of C major:
\n
\n…the G octatonic (half-whole) scale:
\n
\n…can be played over any of the 5-chord options: the G major triad, the G dominant seventh chord, the G dominant ninth chord, etc.<\/p>\n

Scale Options For The 1-chord<\/h2>\n

In the key of C major:
\n
\n…the 1-chord can be any of the following (but not necessarily limited to):<\/p>\n

The C major triad:
\n
\nThe C major seventh:
\n
\nThe C major ninth chord:
\n<\/p><\/blockquote>\n

Let’s explore some of the essential scale options for the 1-chord using the key of C major as a reference.<\/p>\n

The Lydian Scale<\/h3>\n

The C Lydian scale:
\n
\n…is a scale option for the 1 chord. Raising the fourth tone of the major scale by a half-step produces the Lydian scale.<\/p>\n

So, raising the fourth tone of the D major scale:
\n
\n…which is G:
\n
\n…by a half-step (to G#):
\n
\n…produces the D Lydian scale:
\n
\nThe D Lydian scale is a suitable scale option for the 1-chord in the key of D major:
\n
\n…which include (but is not limited to) the following:<\/p>\n

D major triad:
\n
\nD major seventh:
\n
\nD major ninth:
\n
\nD major ninth [sharp eleventh]:
\n<\/p><\/blockquote>\n

So, if you’re looking for that scale option for the 1-hord that doesn’t have an avoid tone, the Lydian scale is your best bet.<\/p>\n

The Major Bebop Scale<\/h3>\n

Adding the chromatic tone between the fifth and sixth tone of the major scale produces the major bebop scale. Using the C major scale (as a reference):
\n
\n…the chromatic tone between G and A (which are the fifth and sixth tones):
\n
\n…is G#:
\n
\nAdding G# to the C major scale produces the C major bebop scale:
\n
\n…which is a scale option for the 1-chord in the key of C major.<\/p>\n

Multiple Major Pentatonic Scales (1, 2, and 5)<\/h3>\n

There are multiple pentatonic scales that can be played over the 1-chord. But we’ll be focusing on the major pentatonic scales of the first, second, and fifth tones of the key you’re in.<\/p>\n

In the key of C major:
\n
\n…the following pentatonic scales can be played over the 1-chord:<\/p>\n

The C major pentatonic scale:
\n
\nThe D major pentatonic scale:
\n
\nThe G major pentatonic scale:
\n<\/p><\/blockquote>\n

…and these are the major pentatonic scales of the first, second, and fifth tones respectively.<\/p>\n

Attention:<\/strong> Join the Jazz Intensive Training Center<\/a> to learn more about this.<\/p>\n

Final Words<\/h2>\n

I have no doubt that using the scale options covered in this lesson you can have a better melodic vocabulary while improvising over the major 2-5-1 chord progression.<\/p>\n

In a subsequent lesson, we’ll be learning the scale options for the minor 2-5-1 chord progression.<\/p>\n

Keep up the great work.<\/p>\n","protected":false},"excerpt":{"rendered":"

Take your improvisation to a whole new level by the application of these scale options for the major 2-5-1 chord progresssion.<\/p>\n","protected":false},"author":9,"featured_media":22418,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,22,9,229],"tags":[33,17,32,2672,1122,2097,2721],"class_list":["post-18674","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-jazz-music","category-piano","category-scales-theory-piano","tag-2-5-1-chord-progression","tag-basic-songs","tag-improvisation","tag-improvisation-ideas","tag-jazz-improvisation","tag-major-2-5-1-chord-progression","tag-scale-options","post-wrapper","thrv_wrapper"],"yoast_head":"\nJazz Improvisation: Essential Scale Options For The Major 2-5-1 Chord Progression - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" 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