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Major 2-5-1 Finally Explained!
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- Опубликовано: 19 апр 2017
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The major 251 is found extensively throughout jazz music. It uses chords two, five and one to create a lovely sounding chord progression. We can also use rootless chord voicings to create a slick, professional sound. I go through the type A and type B rootless voicings, and also take the progression through several keys.
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5:17 “Sunday morning, rain is falling...” ^-^
Haha yeess! Good spot :)
Ayyy si crei que estaba loco, yo la escuché tambien, buenísimo tutorial bro
This would be why the RUclips algorithm suggested it for me.....
Glad I wasn't the only one :)))))
When they were good.
Best ever explanation of 2-5-1 and voicings.
Glad you found it useful :D
I was actually able to understand the rootless chord explanation. Always wondered how the hell you can have rootless chords but wow this explanation was so simple! Brilliant, just take out the root and add the 9th!
Been a musician for years, as a guitarist and I been expanding my portfolio. Wanted to learn piano for the jazz so I figured I’d finally need to learn a lil theory so this might help me with my guitar playing as well
I had no idea you can have a chord name that doesn't have the root. My mind is blown
Don't worry, it's not your mind that blows, it's the way monkey "teaches" other monkeys or a pope "heals" a listening brain. So you can take only informational part and leave bubbling part as garbage.
@@rmsoft N i g g a the F U C K does that mean?
Inversion
In jazz that's called a rootless chord. Same chords without the root. For instance a rootless C would be EG and throw in a 7th, 6th or 9th to make it sound very cool
@@lookatdisdude3181 LMFAO Same here my man but yes its called inversions 🤡🤚
I really like the double visual of the keyboard and the written notes.
same, really helpful
I'm confused. When you remove the root from Dm7 and add 9, you end up with FACE, which is an Fmaj7, right? How can you still call it a Dm7?
It's called a rootless voicing, every chord doesn't necessarily have to contain the root... and it's very common to take it out when playing jazz. You have to imagine the bass player playing the root note, and we are playing the harmony. If you were to think of it as a Dm7 instead, the harmony would be different, and you would end up accenting different chord tones.
グレゴリーミカン I think its the inversion itself that there are chords that is the same with others when its minor or in seventh etc
It’s like calling a C sharp a d flat.
Good question! I think to avoid confusion, they need to call it something else, such as RL-Dm7-Add9. RL for 'rootless' ---- the 'RL' is just made-up. Got to define something at least.
You are a amazing teacher, your way of teaching is easy to understand. Especially the pace is slow so it is easy to follow. Thank you.
(Adds Am7) 🎶 dancing in the moonlight, do do do do 💃🏾
Subscribed in a 1/16 (heart) beat! I love how you present the musical theory.
Glad you enjoyed it!
Currently binge watching your videos! I can't wait for my next songwriting sesh!
i can appreciate that you dont put ads on my education
Dear Master, extraordinary lessons , lovely armonization, many thanks, and please go on teaching!
who's a genuine teacher ? it's about telling you not to forget what you know. thank you very much.
Outrageously brilliant! Crystal clear too - thank you.
Glad you enjoyed the lesson 😀
excellent tutorial , also im dying at the channel name 🤣i LOve it
Why was I struggling. Thanks alot 🙏
super , now i understood about structure , that is the best way to teach :) thank you
I often times add a vim7 (in C for example the Am7) after the Imaj7 by dropping the 7th a whole step
Type A voicing, I can work out the first and last chord in any key. For the middle chord, I have to remind myself just bring the one note down a half step.
The chord progression you were playing partly reminded me of a Jamiroquai song that I can't remember the name of.....Virtual Insanity or something like that. Knowing what Jamiroquai's music is like, it wouldn't surprise me if he used ii-V-I chord progressions in lots of his songs😎👍
Me too lol
Thanks! Best description of 251 yet.
Thankyou love your videos 🎹🎼
The 2-5-1 progression commonly used in Jazz is actually a 2 minor - 5 -1. A 2 - 5- 1- in the key of C would be D Major, G Major, C Major. If you called out this progression to musicians using letters instead of numbers you would have to say " Play a D Minor, G Seven, C." This is related to the Roman numeral system and the Diatonic Scale but in reality it makes no sense.
How do you keep track of where the chords are if you're playing rootless voicing and your root is not the anchor to the chord anymore ? What kind of rules do you use to lead you when the chords are moving quickly because in these situations ill start playing rooted triads and lose my place. As soon as you moved to other keys i could no longer keep track of how to build the chords anymore. Are these the same rules you use to make the voicing in the minor II V I changes as well ?
After enough practice you will begin to associate the shapes of each rootless voicing to its root. When starting out it can seem confusing because the root note is not present in the chords, but they will get more and more familiar and you will soon start to be able to recognise them :)
So when you say this progression is found extensively throughout jazz music what do you mean? Take any song..Autumn Leaves, Girl from Ipanema , Happy Birthday, Twinkle Twinkle Little Star...or? ...does the song have to have a 251 chord progression to start with..? What if it doesn’t? Or are you talking about songs that are specifically written with a 251 progression?
A majority of jazz standards will contain the 251 chord progression, it may be major or minor or be a slight variation of it... but you can find it in pretty much every classic jazz standard.
This is a great video. Any time I have questions when working in soloing, these videos help out monumentally. Thanks.
Good stuff :) Glad you are finding them useful!
Invaluable as always PP.!
Great technique!
I definitely thumbed up this vid when you added those 3 extra key voicings at the end
Another world just opening for this retread beginner 🎹
I didnt get how to decide if youre gonna use maj7 or dominant 7.. can someone explain please? :)
I could be wrong but I think it is determined by which of the notes in each of the II-V-I chords are in the major scale of the root note eg. Using the key of C, the maj7 is played because it contains a B whereas a C dominant 7 chord would contain a Bb, which is not in the C major scale. Then for the V chord (G7) this is dominant as the Cmaj scale contains the F. Hope this makes sense?
Finally!!! I I was asked about 2, 5 , 7 at one point and drew a blank face ! heard this quite a few times. I learned piano briefly from my mom. She was a piano teacher for life and she has no idea about 2, 5 , 7. She was classically trained in Asia… now it makes sense. Thank you… or maybe I didn’t ask her right questions??? Don’t know?
This helps ALOT!! Thank You Soo Much!! 😊
your lessons are very good! thank you.
Thank YOU for watching them :)
This was really helpful! Thanks :)
Great video!
Wonderful video
YOU ARE AWESOME DUDE!!! THANK YOU, SIR!!!
Sounds very nice! Like the way you present it!
Which books on tonal harmony is the idea from? Which can you recommend?
Very useful and clear explanation of 2 5 1! Thank you very much! If you will, please show us how to actually use 2 5 1 in a progression as passing chords! Please keep up these videos!
NAClark/Philadelphia
Very nice video indeed. Thanks PP.
3:19, there you have it, 'Sunday Morning' by Maroon 5
LO-FI beat here i come baby!!!!
Lmao
True!
When you play the Dm7, G7 and Cmaj7, how do you decide which note to play in the octave below? For example you play the notes D, G and C at 5:17.
These are the root notes of the chord name, so we play these to fill out what a bass player might play. In this case it provides the "root" to the rootless voicing.
excellent! very clear and informative! helped me a lot. thank you!
Good to hear, glad it helped :)
Mario World Game Over lofi keeps haunting me.
Excellent video, I'm not very good at this, but with your explanation I could understand more ^^
Sir: this class was the most. Will you please if you can squeeze some time for us "amateur musicians" do a video on the ii V I Chromatic Progression. Take the C Maor Scale the ii of IV the V7 of the IV and the I progression. Can you help me?? please let me know.
awsome easy, excellent visuals. thanks
You should do a quick rundown on your opening or theme chords,they are cool.
Already done it my friend: ruclips.net/video/x8J9CzSXrUE/видео.html
PianoPig okay thx,I will check it out.
Very helpful. It's clear and makes musical sense. Thanks.
I love this channel
What makes the voicing type A and type B ? Are you just calling it that because thats how you ordered it ? Or is the usual way people learn these rootless voicing like this ?
I believe it is quite a common way of naming them. I don't know how mainstream it is but I've certainly heard many other people call it that as well.
Awesome. So well explained. Thank you 👍
anyone mind explaining why theres a mix of major and minor in a 2-5-1 or any other progressions? . Shouldn't a C Major 2-5-1 be Dmajor Gmajor Cmajor?. I don't see any videos explaining how theres suddenly a 7b5 in a minor 2-5-1 progression or how they come up with that note being major or minor.
Hello, just wanted to say how helpful this was. One of the more well explained videos out there, I learned plenty in this short video so thank you!
Stupid question probably but could someone please explain how he can use D flat when in the G major scale?
New subscriber!! Thanks so much that was very helpful. Now practice practice practice... :)
Great great awesome job
thanks
Good video! The graphics help a lot. Thanks!
My pleasure :)
Great 👍🏼 explanation! 🔥💣🧨🎹👀
Is there a way to find out the name of chords or do you just memorize them?
+1 subscriber :) Can you explain how to use minor II V I? And how to improvise on it? Thanks for your hard work on videos
The minor II V I is slightly more complex - but they sound awesome! The concept is the same as the major II V I apart from instead of using the major scale to construct the chords, we use the harmonic minor scale.
Doing this gives us the chords IIm7(b5), V7, Im7. In terms of improvising over this there are several options, but some common scales to use would be locrian, then altered, then melodic minor.
It is quite hard to explain this all in a simple comment, so I will make this week's video explaining a minor II V I - it will be out on Friday, look out for it! :)
Hey guys idk if anyone will see this message but I'm kinda lost when he gets to the type A rootless voicing. I'm confused on how he went to an A rootless for the cmaj7. Was wondering if someone could explain it to me lol😅
Very useful! Thank you!
Why does it show them as cmaj7, dm7, and g7 rather than C, Dm, G.. sorry I know it's such a beginner question..
Because they are all 7th chords, so they need the extra notation of the number 7. If you're not sure what 7th chords are, then check out some of the other videos I've made explaining them. Here are two of them: ruclips.net/video/ipCTIabddmo/видео.html, ruclips.net/video/InBCuYsqnxk/видео.html
just think of 7 chords as an embellishment of the Cmaj dm gmaj, small chords with bells
Because Jazz and other styles love to add color tones to chords = 7th, 9th and many others. It's basically a given that these chords will all be seventh chords.
07:44 can someone please explain where he got that g flat from?
bit confused
Great video, thanks :) subbed!
Glad you enjoyed it :)
How could I keep going down the circle of fourths infinetly doing 2 5 1?
Great stuff! Always wanted to learn this jazzy secrets. ;-)
7:43
Thank you for the video. How can you determine to use the 3rd and 9th sound in Dm7 or 13th sound for G7? is it okay to use different position?
They are just very commonly used voicings for 2-5-1s, but obviously you can play it however you like!
Good video
Thanks :)
Muchas gracias!!
Once you voice your II as F-A-C-E isn't it just a IV? Is it because we're expecting the root D will be present that we don't simplify to calling it a IV?
It's called a "rootless voicing/chord". Usually the bass would be playing the root and you are playing the harmony above it. But if you are playing solo, your brain fills in the chord for you but it sometimes sounds a bit weird.
What is 'type A", 'type D' etc. you introduce the terminology without explanation. thank yuu
Wonderful
verry good lesson
When building 7th chords from each note in the Cmajor scale, how did you determine what chords were minor and major?
A major scale goes Major Minor Minor Major Major Diminished then back to the root if you do that then when building the 7ths it should all still fit in the scale
one question about the scale - why is the G a dominant chord (with a minor 3rd) and not like the Cmaj7 and Fmaj7? (with a major 3rd)? And why is the B a diminished?
It’s called the different degrees of the scale: en.m.wikipedia.org/wiki/Major_scale. And different degrees correspond to the different chord types. I’m guessing it was created like that because all the notes in each of the chords are in the key of C. Like Fmaj7 is FACE and G7 is GBDF. All are notes in the C scale.
4:44 Why is the order "7, 9, 3, 13"? Why is the 3 not a 10th?
As a beginner that walked in on this, it is grueling. But i got it after watching loads of times.
Glad to hear you finally understood it!
Those D major voicings sure were nice
So cool 👍
Hello @pianopig !
At 4:44, is it not an 11th rather than a 13th here ?
Great video tough, thank you very much 🙏🕊️
My mistake, I got it ahah 😅
love you
You broke that Down so nice... Thanks. But a song is much more than just a 3 chords. How do you add more chords to make a truly good song?
Thx my friend
No worries!
3:19 1:53
@6:00 G 13?
Yes, it's a G13 - but in jazz we tend to notate chords as 7th chords, athe player then adds on whatever extensions they want.
So there's A and B voicings right, is there a C or D voicing for the other inversions considering every chord that has four notes can be played in four different inversions? Maybe I'm missing something.
Type A and B are really just names for the common inversions of these chords. They are widely used. You could certainly play them in different inversions, but I don't believe 'Type C' voicings have been assigned a specific inversion.
@@Piano_Pig thanks man I think I get it. Rootless chords are a whole new beast for me to figure out lol.
SUNDAY MORNING RAIN IS FALLINGGGG
Lovely
"Sunday morning, rain is fallen...!"
Superb
nice
Love the video, but I feel like calling voice leading just 'reducing the hand movement between chords' is a bit misleading, since it doesn't explain what a voice is or how weak notes resolve to strong notes. Yes, the least movement will often have decent voice leading but can also create a boring progression if the voicing is just stacked thirds.
This is super helpful but i get confused when you start saying thing like 11th,3,9th. When i hear those numbers i get super confused. If i understand correctly you are in the upper part of the chord where youre past an octave so you go 7,9,11,13th etc but where does a 3 come in? is it where the 3rd position would be but just an octave higher?
Yes, that's exactly it!
Samuel Santaella thank you! After several videos and much practice I get it now lol thanks so much
great
4:37 how the heck is it a G13??? I’m so lost 😪
Its a 13th (E on top) because you raise the 5th degree of the chord a whole step. Heres how I learned it (self taught) - take a dom 7th chord and raise the root one hole step to become a 9th. Take that chord and raise the 3rd a half step to become an 11th. Take that chord and raise the 5th to become a 13th. Voice it how you want. Fact check me on this as I worked thru this by my self and don't want to give any bad / wrong info. Thanks