Learn How To Play The Jazz 251 Chord Progression On Piano!

Learn How To Play The Jazz 251 Chord Progression On Piano!
The 2-5-1 chord progression is a famous chord progression used primarily in jazz music.
But what do I mean by 2-5-1 chord progression? Well, let’s use the key of C as our
starting example. The 2 chord is based on the second note of the scale, so in the key of C
the 2 chord is a D. For the 2-5-1 progression popularized by jaxx, we are going to use a D
minor 7 chord, which is made up of the notes D, F, A and C.
So, we have our 2 chord. Let's find out what our 5 chord is going to be. The fifth note of
the C major scale is G. For the 2-5-1 progression we are going to use a dominant seventh
chord. The G dominant seventh chord is made up of the notes G, B, D, and F.
The final chord of our 2-5-1 progression is based on the root note, which in our case is C.
It is also a seventh chord, this time a major seventh. It is made up of the notes C, E, G, B.
Now play all three of those chords together and notice the different sounds that the minor,
dominant, and major seventh chords make. You can see that, played in that order it is a
very jazzy sort of feel, which explains its popularity in jazz music.
Now let’s try to build the same progression in another key. Say the key of F. We know
from our knowledge of the scale that the 2 chord is the G minor seventh, the five chord
would be the C dominant 7, and the root chord, of course, would be the F major seventh.
Let’s do another one. This time let’s try the key of A. The two chord is the B minor
seventh, the five chord is the E dominant seventh, and the root chord is the A major
seventh.
So there you have the 2-5-1 chords progression, one of the most popular chord
progressions in jazz music. You also know how to create the piano chord progression in
any key. If you have an interest in jazz music, try to incorporate what you have learned
into your song writing.
For the more lessons on jazz check out these Jazz Piano Lessons .
Approach chord
In music, an approach chord (also chromatic approach chord and dominant
approach chord) is a chord one half-step higher or lower than the goal, especially in the
context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s
progression:
|G / Em / |Am / D7 / ||
May be filled in with approach chords:
|G F9 Em Abm |Am D#7 D7 Gb7 ||
♭
F9 being the half-step to Em, A m being the half-step to Am, D♯7 being the half-step to
D7, and G♭7 being the half-step to G. G being I, Em being vi, Am being ii, and D7
being V7 (see ii-V-I turnaround and circle progression).
An approach chord may also be the chord immediately preceding the target chord such as
the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through
the contrast of no more than two common tones: FACE – CEGB.
 Approach chords may thus be a semitone or a fifth or fourth from their target.
 Approach chords create the harmonic space of the modes in jazz rather than secondary
dominants.
Predominant chord
In music theory, a predominant chord (also pre-dominant) is any chord which

normally resolves to a dominant chord. Examples of predominant chords are
the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and German sixth. Other
examples are the secondary dominant (V/V) and secondary leading tone chord.
Predominant chords may lead to secondary dominants. Predominant chords both expand
away from the tonic and lead to the dominant, affirming the dominant's pull to the
tonic. Thus they lack the stability of the tonic and the drive towards resolution of the
dominant. The predominant harmonic function is part of the fundamental harmonic
progression of many classical works. The submediant (vi) may be considered a
predominant chord or a tonic substitute.
The dominant preparation is a chord or series of chords that precedes the dominant
chord in a musical composition. Usually, the dominant preparation is derived from
a circle of fifths progression. The most common dominant preparation chords are
the supertonic, the subdominant, the V7/V, the Neapolitan chord (N6 or ♭II6), and
the augmented sixth chords (e.g., Fr+6).
The circle progression features a series of chords derived from the circle of fifths

preceding the dominant and tonic.
In sonata form, the dominant preparation is in the development, immediately preceding
the recapitulation. Ludwig van Beethoven's sonata-form works generally have extensive
dominant preparation — for example, in the first movement of the Sonata Pathétique, the
dominant preparation lasts for 29 measures (mm. 169–197)
Chordioid
A chordioid, also called chord fragment or fragmentary voicing or partial voicing, is a
group of musical notes which does not qualify as a chord under a given chord theory, but
still useful to name and reify for other reasons. The main use of chordioids is to form
"legitimate" chords enharmonically in 12TET by adding one or more notes to this base. It
is typical of chordioids that many different resultant chords can be created from the same
base depending on the note or combination of notes added. The resultant chords on a
single chordioid are somewhat related, because they can be progressed between using
motion of just one voice. Theorists – or practical music teachers – writing of chordioids
usually go so far as to advise that students learn them in the practical manner of chords
generally: in all transpositions, ranges, permutations, and voicings, for reading, writing,
and playing.
It is the case, also, that "legitimate chords" can be used as chordioids to create resultant
chords by the same process. Perhaps this is whence the non-chord chordioids come.
The Italian augmented 6th chord (It+6) is one example, from which proceed the French
augmented 6th chord (Fr+6) and German augmented 6th chord (Gr+6) by addition of one
note. Rawlins (2005) asserts that the notion derives from practice of such composers
as Eric Satie, Claude Debussy, Maurice Ravel, and Gabriel Faure, and was first used in
jazz by Bill Evans.
Two choroids may potentially be combined, as well. Typically, duplication of notes will
result in a reduced number of unique notes in the resultant.
Chordioids as a technique is related to polychords insofar as polychords are the result of
an additive process, but differs in that the basis of polychords is the addition of two
known chords. Chordioids is related also to upper structures as a technique insofar as
upper structures represent groups of notes not commonly taken to be "legitimate" chords,
but differs in that chordioids as a technique uses a priori structures held in common
rather than a free selection of color tones appropriate for a lower integral chord.
Chordioids is related to slash chords as a technique insofar as known chords may be used
as chordioids to create resultant scales, but differs in that chordioids used are not
exclusively known chords.

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Learn How To Play The Jazz 251 Chord Progression On Piano!

May be filled in with approach chords:

|G F9 Em Abm |Am D#7 D7 Gb7 ||

In music theory, a predominant chord (also pre-dominant) is any chord which

The circle progression features a series of chords derived from the circle of fifths

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