Introduction to Chord Analysis.
So now that we've given a name,
to the chord that's built
on each root of the scale
we now have these things
that are a roman numeral and
a chord symbol, I think we've
all seen that or heard about it.
The I major, the II minor seven,
the VI minor seven, the V dominant seven.
And briefly stated the 2-5-1, I'm sure
we've all heard that, and maybe some of
you are very familiar with what it means,
and maybe some of you are kind of
scratching your head thinking, two, five,
one, I hear it so much, what is that?
So let's take a really quick
look at what that means.
Pretty simple actually, so
we have the I major 7th,
II minor 7th, III minor 7th, IV major 7th.
V dominant 7, that's an important one.
VI minor 7.
VII minor 7 flat 5, and the 1 chord.
when you're analyzing chord
sequence it's just helpful to say,
well in any key I can just say play 2-5-1.
And you can say oh,
well in the key of A that would be B
because that's the 2 chord.
that's the 5 chord,
and 1 is the major 7th chord, A major 7.
It's that simple.
That's a very important
progression in jazz.
It's kind of the basis of the whole thing,
in a way.
And what it's really called is a cadence.
It's kind of a build up of tension,
and then a release of tension.
You have a sub dominant,
a dominant, and a major 7.
But all that really means is,
you have kind of a middle ground chord
that's not very resolved and
not very unresolved.
A dominant chord,
which I explained a little bit before has
a strong tension in it
because of the tritone and
it's, wants to resolve
to the major 7.
So let's go through it one more time.
Now when when you start playing we've all,
already used it.
When we play along with the basic
blues play along track that we have.
It differs from kind of your
normal rock or blues, blues.
In that at the end of the song instead of
5-4-1, at the end I use 2-5-1.
So that it has a more jazzy ending and
a more jazzy sound.
So as we get into, and we're going to get
in depth into playing on that progression.
I'll be focusing quite a bit
on that part of the blues,
because that's where you'll get your first
foot in the door, into playing 2-5-1.
In the meantime,
what I'd like you to do is take that
progression and play it in every key.
You're starting to hate me now, I know,
I can tell, because I ask you to do that
everything in every key, all the time.
But I want you to do it in every key and
in both voicings.
All over the guitar,
just get used to what that feels like.
And you can mix up the two voicings too.
I just want you to get familiar with
the sound, and the movement, 2-5-1
So just make a challenge for yourself.
You can write it on a piece of paper.
And you can,
as I said before you can either go
up chromatically each time, you know
Or you can go around the cycle of 4ths.
You can go from
F to B flat
Or you can go around the cycle of 5ths.
Whatever makes it work for you.
I just want you to try to get
familiar with it in every key.
And that's, that's the beginning of
what I call chord progression analysis.
And we'll get way into
it more in the future.
But for now give that a try and
see what doors open for you.