[MUSIC] Jazz tunes are sometimes a bit
more complicated than pop tunes.
There are more chords and usually more
chord, chord progressions,
and the tonal center tends to move around
a bit during the tune.
So the 2-5-1 is pretty simple, but when
you combine 2-5-1 with other ideas and
you move the tonal center around, you get
these very rich sounds and
a lot of times, when you're playing with
they'll say, okay, 2-5-1 to E,
which means the 2-5-1, the two would be
the F sharp, B to the E.
So, 2-5-1 to E would sound like this.
It's kind of a final sounding, sound.
And so then they'll follow 2-5-1 to C.
you get used to that sound and as, as you
combine that 2-5-1,
for instance, if we, play the 2-5-1 and
follow it with a cycle of fourths, which
I'll demo in a few minutes.
The, it's used for songs, the cycle of
fourth, had been used for
songs like Hey Joe, Light my fire, A day
in the life, but
the 2-5-1 progression and the cycle of
fourths are really used a lot in jazz.
So right now I'd like to do, to show you
an example of what the 2-5-1 sounds like.
And this'll be not just the 2-5-1, but we
will cycle through the fourths, so
you'll have to use your ears a bit but
check it out, it goes like this.
There's the 1, 2-5-1 to E.
Now, do 2-5-1 in D.
2-5-1 to C.
Now, 2-5-1 to B-flat.
2-5-1 to A-flat.
2-5-1 to G-flat.
So you get used to that sound in your ear.
Where it sounds like it's kind of ending,
and it's again,
the 2-5-1 progression, very popular in
And that was a simple way to play it, now,
I'm gonna do the same thing again, but
I'm gonna use a walking baseline to just
get us through it.
So, as we walk through it, we have to
determine what notes to play again.
Now it's getting a little more complicated
than what we've studied before.
Check it out.
So, I know where I'm going.
So that was basically walking through
a progression of 2-5-1s.
Now we'd like to do the same thing again,
I'm gonna make it a little more
complicated and maybe add a little bit of,
of improvisation as well as keeping the
bass line going.
Goes like this
So, as you can see,
even though it's a very simple
when we lay those chords out like that, it
keeps us on our toes,
we have to think a lot about where we're,
where we're gonna land.
And that's the 2-5-1 progression.
So typically in Jazz music when we talk
about 2 5 1 progressions, it's usually the
two chord is minor, and the five chord is
a dominant seven, and then you get back to
the one which is major or major seven.
So, if we're talking about E once again,
[SOUND] we start with the 2 being the F
[SOUND] And then 2 with B would be the
The chord B7.
[SOUND] And then the regular E.
So the sound we get in our ears,
you can use lots of different, approaches.
in a walking bass line we'd, the 2 chord
would be 2, 5, 1.
2, 5, 1.
Now, that was an ascending walking line
I can accomplish the same exact thing with
a descending walking bass line.
So starting on the 2 again and the key of
E, start on the F sharp.
2, 5, 1.
So these are different ways of arriving at
the same chord, and as you're creating
your bass lines and you're walking, you
wanna keep it interesting.
So, sometimes you notice that we'll do a
combination of the two will,
will come up to the chord we'll come down
to the cord and
depending on what makes it sound good
start with the descending line again.
So we're using a combination
of elements to arrive at the same point,
which is the one chord.
Now, I'd like to demonstrate that same
the example that we used before, we will
play the tape, and I'll,
I'll give you examples of walking and
we'll arrive at it from above and
below ascending and descending bass lines.
So we, so you can see we have different
ways of arriving at the same tonic
we talked earlier about arpeggios and how
to outline the chords, using arpeggios.
So basically, if we had an F-Sharp Minor.
F-sharp minor seven.
So, these would be the notes and they
are paid to you in the F-minor seven chord
And we can start on the F-sharp or.
Or start on the A.
And I'd like to apply that to,
playing through the 2 5 1 progression,
and again outlining the chords for
instance in E-major seven.
I'm gonna play the, the 2 5 1 progression
use the arpeggio to get around the
progressions sound like this
So again, this is just using your ears and
learning how to listen and get around the
2 5 1 progression.
So again, at this point, if you'd like to
send me your version of 2 5 1,
you can download the back-end track that's
again check out some of the other
send me a video of you playing through the
2 5 1.
I'd love to hear what you're doing and
give you some feedback on that.
I know where I'm going.