We have arrived at the 2-5-1 progression.
This is probably the most important
sequence of chords in jazz,
and to be honest it has been the most
important progression for centuries.
It's the most basic, elemental idea and
to me I always wonder if there's
something about it that's kind of like,
Maybe there's some hope.
Now I'm not sad anymore.
There's some universal human instinct
in there to wanna hear that happen.
We've been working a little bit on a II,
V, I in the context of our blues.
Because we have been going, for
example, on the blues in F.
>> And that's a two, five, one.
This is the two.
G minor seven.
And then C, now with our nine on it.
That's the five, the dominant chord.
And then we've been resolving to the one
as a dominant chord as well,
as a seventh chord.
What we're gonna start working on now is
a classic Miles Davis tune called Tune Up.
And the reason I chose this is
that it's a sequence of three
251's in a row that make
a lot of logical sense.
And it's also gonna take
us to some new keys.
The simple idea of the 251 [SOUND].
Now were going to use a major
7 chord as our landing point.
You can see that what
we're doing in this tune,
we're taking a minor chord,
let's play it as our 9.
And we're resolving
it down to a D major chord.
Then we're using starting
in the next sequence,
[SOUND] D minor to G7,
[SOUND] To C major seven,
then we're turning that into C minor nine,
We're gonna take these two fives,
one at a time.
We're gonna learn some resources on them.
And then we're gonna put them all
together to play that song tune up.
We need to learn a little
bit of new scales for
these and that's what's gonna
happen in our next lessons.
Let's look at kinda part of
the reasoning of why these things work.
A lot of it is I've mentioned
the strongest resolution you
can get is a half step down.
That's the one that really kind of.
It's the thing,
when something is suspended.
It's like the old Amen cadence,
and it works,
it's been working for centuries.
And a two five offers you
a whole lot of opportunities to
expand beyond just the most
basic version of it.
And that's something that we're gonna look
at in the next several lessons as well.
look at the way the harmony resolves.
There's our ninth chord here.
And then this really wants to go.
The C sharp
also wants to go to the D.
And the 2 five is really full of those
as we look at voicings down the road.
We're gonna start to look at
And that features this tension,
the flat nine,
which also kind of badly wants to go here.
Now we have two notes resolving down by
a half step.
Let's dig in,
as I've mentioned we have been working
with a two five in
the context of our blues.
That one resolved to a dominant cord but
the principle is really the same.
We're going to learn some additional
minor scale techniques and
then we're going to introduce
the major debop scale
And we'll take it from there,
I'll see you on the other side.