goddysweb: If you listen to music, you’ve definitely heard a
“2-5-1″ progression. They are found in just about
any type of music — regardless of style, genre, or
rhythmical pattern. It is commonly the series of
chords that end a song or phrase. However, it can
be used in several situations (I can only go over a
few in this lesson but encourage you to check out
my course for further instruction).

In this chord progression, the 2 chord (you’ll learn
what this is later on in this lesson) leads to the 5
chord which in turns, produces a strong pull
towards the ending chord (which is usually the
1st major chord of the scale).

First, let me start by showing you what chords
correspond to each tone of a major scale:

1 tone – Major
2 tone – Minor
3 tone – Minor
4 tone – Major
5 tone – Major (dominant)
6 tone – Minor
7 tone – Half Diminished

To understand the chart above, you must
understand that each tone of a major scale has a
chord which goes along with it. For example, the
following is a

C major scale:
(C — D — E — F — G — A — B — C)

Each tone above has a matching chord. Simply
add the endings of the chart above to the scale
as shown below:

>C MAJORD MINORE MINORF MAJORG MAJOR /
DOMA MINORB HALF-DIMINISHED<

To further understand progressions, lets number
each chord:

1 = C major
2 = D minor
3 = E minor
4 = F major
5 = G dominant
6 = A minor
7 = B half – diminished
8 = C major

Now, to create a “2-5-1″ chord progression (or
any numbered chord progression), simply take the
2, 5, and 1 chord out of the entire series of
chords above. That is, we would not use the 3,4,
6, or 7 chord.

The 2 chord is D minor; the 5 chord is G
dominant; and the 1 chord is C major.

This right here is the most basic “2-5-1″ chord
progression you’ll ever see:

Dmin — Gdom — Cmaj
min = minor
dom = dominant
maj = major

REFERENCE 1A:
D minor chord = (D) + (F) + (A)
G dominant chord = (G) + (B) + (D) + (F)
C major chord = (C) + (E) + (G)
Example: To play a Dminor chord simply play all
three of the notes shown above at the same time
(D+F+A)

Moving on…

Now that we have covered some theory (I’m glad
that’s out of the way), let me just show you a
few chords that I love to play. I will try not to be
as theoretic … I will simply give you the chord
changes and you’ll have to apply them to your
understanding of chords and alterations. All of
these progression will be shown in the key of C
major…

1) “Churchy 2-5-1 Chord Progression”

Style #1
D7 (b9) — G13 —- Cmaj
(pronounced “D seven, flat nine —– G thirteenth — C major”) D7 (b9) =
Bass * Play “D” ——— F# + A + C + D#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C (1st
inversion)

Example: For D7 (b9), we would play F# + A + C
+ D# with “D” on the bass (left hand).
Inversion just refers to the way the chord is
played. Since “C” is the highest note, it is said to
be played in its “first inversion”
Note: I love playing this chord progression in
gospel music. You try playing it and let me know
what you come up with!

2) “Churchy 2-5-1 Chord Progression” Style #2
For this progression, every chord will be the same
except for the D7 (b9). We will simply play a
regular D9 chord.
D9 = F# + A + C + “E” (not D#)

Notice: The only difference in a D9 and a D7 (b9)
is the difference in the “ninth” tone. Since we are
not flatting the 9th tone, we use “E” instead of
“D#.”

D9 = Bass * Play “D” ——— F# + A + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

3). “Contemporary 2-5-1 Chord Progression”
Style #1
For this progression, we are going to use:

D9 add 6 —> G13 —> Cmaj
D9 add 6 = Bass * Play “D” ——— F# + B + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

4.) “Contemporary 2-5-1 Chord Progression”
Style #2
This progression will follow the same exact
pattern as #3 with the following chord alteration:

D9 b5 —> G13 —-> Cmaj
*** You are going to have to extend your fingers
for this one!

D9 b5 = Bass * Play “D” ——— F# + B + C + E +
A#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C
Well, that’s it for this lesson. See ya next time!

Here's me playing around a common hymn "I Surrender All"

http://www.hulkshare.com/mobile/index.php#goddysweb/i-surrender-g-hillary

Karleb:

Do I know what a minor key or chord or scale is? Yes!

Do I know into details what a minor key or chord or scale is? No

Why? 'Cause I just started with C Minor this morning.


Abeg, answer Fazi15 question.

Femiyanda:


maybe you can get the answer to your "Minor" questions here...

http://www.phemixmusic.com/fundamental-factory/5-minor-keys/

Jermaine explained a lil bit about it. Watch the video and let me know what you think bout it. And don't forget to sign up for more video tutorials ok.

Bosville: Playing oN key Cminor, Fmajor, Db??wats re dos tinz......i knOw nothing bout dem...can soMeoNe put me through...?

gameboi: Lolz. I have other bosses Like Dramadiddy.

Karleb:

But, wait o.

If the 1 2 5's are called sus2, then what do you call the 1 3 5's?


Anyways, you can try these on the scale of F and tell me how the sound feels.

Bass: F C F Bb D Bb C C G C Bb D C F

Treble: C A F D Bb F E C D Bb F.


Or does it seems familiar?

Karleb:

This will help

http://www.pianoscales.org/chords.html

Dramadiddy: guys so much work on me now...been teaching, learning, working with different people...i've got a concert coming up in october, i'll upload the flyer here when its out....so tired guys night

Karleb:

hey! care to drop anything for the boys?

CoolHunk: I hear good basslines don't stray away from the root note too often. So what do you do to add interest to your basslines? Like those killer African basslines we hear in makossa and whatnot.

Dramadiddy: I don't get the statement

Karleb: gameboi

abeg, just think of something you think I should know that I don't know and teach me.

could be the chords name, cause I am still trying to wrap my head round those things.

thanks.


BTW, you once said on this thread that you're 17? c'mon tell me that's a joke.

gameboi: Lolz. It's no Joke.

CoolHunk:
Okay...what makes a bassline effective?

Dramadiddy: it depends on the bassist's creativity

CoolHunk:
Creativity? I'm actually talking about the piano: when a pianist accompanies himself with the left-hand. If I play a I7-IV7-V7 progression in the key of E, you know the most consonant notes would be the root and fifth of those chords. For example: I7 would sound good with E(root) and/or B(perfect fifth) in the bass, et cetera. But you know one can't keep playing only roots and fifths, that would be boring. So do you play 6ths, 9ths, 13ths etc to spice up the low end of your progressions?

Karleb:

but you also said something about you knowing only key C some nine years ago, care to explain?

Fazi15: Pls i want to know the chord progression for makossa and uhrobo

gameboi: Your question doesn't really sound direct. You should know that not all songs have the same chord progression.

Heavenonearth: Gudmorning guys...someone should pls help me with chords to the hymn All hail the power of Jesus name on key C thanks in advance