2 / 5 / 1

Hip to the 2 / 5 / 1 harmonic motion as found within the major tonality? Here is a common realization. Example 1.

Sound familiar? A sense of tonal gravity created by linking chords built on the 2nd, 5th and 1st scale degree of the major scale. Minor tonality? Of course. Example 1a.

This 2 / 5 / 1 harmonic cell is really a jazz way of doing things. And although we can find this grouping of chords in all of the American styles, it is in the jazz style that the many potentials of the Two / Five One chord progression are perhaps fully achieved. When diatonically created within the major tonality, the 2 / 5 / 1 motion is rather unique in that it uses three distinctly different harmonic colors to create the artistic properties of tension and release, properties so essential to any art form.

The tension part of this simple three chord progression begins subtly on a minor seventh chord type built on the second degree of our tonic major scale, commonly referred to as the Two minor seventh chord. Root motion by perfect fourth takes us to the second chord of our progression, a dominant type chord built on Five, which contains the essential cadential tension of the tritone. The third chord of this progression, the One or tonic type chord is built on the first degree of the parent scale of the music, releases the tension of the tritone, establishing the sense of tonal center and relaxing the forces of tonal gravity.

So why is this harmonic motion potentially important for the create artist? Well depends on one's direction for sure, but for jazz players, and those looking to expand from a more blues / rock format, this simple chord progression is a cool way to establish a tonic, oftentimes by replacing the common Four / Five One cadential motion. In changing keys or modulate, or simply cycle through the keys in either resolving or non-resolving progressions, the 2 / 5 / 1 is a sleeker, more adaptable way of doing the cadential business. Also, there is something about the bass motion of the 2 / 5 / 1 over the 4 / 5 / 1 that helps create that swing thing, so essential to the rhythmic core and joy of American jazz. So, if your heading in jazz direction, chances are you'll run into this chord cycle in the literature. Looking to smooth out more conventional progressions or begin to modulate your music, the 2 / 5 / 1 motion might be a welcome addition to your palette, that is if it's not already there.

Let's start our theoretical explorations of this harmonic motion from perhaps it's historical origins. The Two / Five / One progression can be quickly derived from perhaps the older, more universally used Four / Five / One progression. Roughly speaking the Two and Four chords are quite interchangeable. Here's why. Using the tonal center or key of C major, lets spell out the pitches used to create the diatonic Two and Four chords. Example 2.

By this handy chart one can readily see the pitches of the F major triad contained within the D min 7 chord yes? Cool with the spelling of chords? Compare the sound of Two and Four. Example 2a.

Here the difference, basically from the minor color to the major color eh? So again, "why choose Two ( ii min 7 ) instead of Four ( IV maj 7 ) in creating the various styles of American music?" Each of the two choices, while assuming similar roles as a passing chord to the dominant, provide a different coloring of the overall harmonic effect in approaching a tonal center. Let's examine each one individually.

The Four chord ( IV ), having the same intervalic construction as One, oftentimes functions in a similar manner as One but found up a perfect fourth from the tonic, creating a different background for the melody. Simple blues melodies illustrate this idea, which in many situations is a literal repeat of the original theme or riff through the 12 bar, 1 / 4 / 5 blues form. In the fifties, the emergence of rock and roll provided a new style of music utilizing the existing One / Four / Five structure so similar to this blues format. There are gillions of blues and rock tunes based on this simple harmonic formula. In what I call the amen effect, created from the harmonic cycle of One to Four back to One etc., shows the character of the Four chord as being quite warm, stable and capable of sustaining the melody if needed. For example, an "amen" vamp. Example 2b.

American classics such as the traditional "Swing Low Sweet Chariot" uses this motion of One to Four to create a stable and joyous song, lifting the human consciousness. Here is the hook part of the line. Example 2c.

Motion from One to Four, broad and restive? So, the Four chord is perhaps more tonic like and stable than Two, thus perhaps more cumbersome in faster, more adventurously modulating music perhaps? Isn't this the direction the jazzer's took? As a power chord for the rockers, the Four chord is the choice.

The diatonic Two chord ( ii min 7 ) in the major tonality provides a cadential motion that precedes the dominant seventh from a perfect fourth, generally the most common root movement of all western harmony. The Two minor seventh chord, due to it's "untonic" like construction in the major tonality as compared to Four, better accentuates the tension encapsulated in the dominant seventh chord ( V7 ) by it's own less than stable nature, creating a stronger sense of forward motion towards the resolution to the tonic. Cool with this? In chart form, comparing Two and Four. Example 2d.

Well, every picture tells a story don't it? Anyway, let's look at some of the fundamental properties and uses of the Two / Five / One chord progression using the pitches of the key center of C major. Here is a chart to spell our chords and discern their color. Remember that building chords up through to the seventh degree helps clarify their type and function. Example 3.

Spelling out the pitches of the Two / Five and One chords in C major. Example 3a.

Cool with this spelling of the chords? Try to locate the 3 groups of pitches spelling out the chords in example 3a within the arpeggio pitches of example 3. See them? Cool. To see how the chords are created from the scales is a beautiful thing indeed. Most chords are spelt in thirds, thus their name, tertian harmony. So by adding the seventh we create three distinctly different chordal colors? These colors translate into varying degrees of tension / resolution, and when combined together, create the tonal gravity of the Two / Five / One cadential motion. Cool with this? It is a reasonably advanced combination of concepts. If necessary, examine chord families / type to clarify. Here is the sound of the above chart in standard musical notation. Example 3b.

By viewing the Two / Five / One chord progression in regards to tension and release, the following illustration emerges. Example 3c.

In the natural minor tonality, the relationship between Two and Four is pretty much the same as described above. The One and Four chords having identical structures. Using Two in the minor tonality darkens the cadential motion due to the diatonic Two chord having a diminished quality, as it's 5th degree is lowered by half step, creating the half diminished chord. Here is a chart to spell our chords and discern their color. Remember that building chords up through to the seventh degree helps clarify their type and function. Example 4.

Spelling out the pitches of the Two / Five and One chords in C minor. Example 4a.

Interesting perhaps is that our 2 / 5 / 1progression in the minor tonality is created from two different types of chords not three, as in the major tonality. Example 4b.

A common adjustment in the minor tonality is to morph the diatonic minor triad to major on the Five chord, evolving the minor 7 Five chord to dominant 7th. This moves the Bb to B, creating the leading tone motion, so popular in establishing tonality and releasing musical tension and allows for three different types of chords in the cadence. Example 4c.

This alteration to the dominant chord is common in all of the styles of American music.

The ability of the creative musician to create artistic tension and the when and how of it's release, is potentially a big part of working the magic within music. With this in mind, let's place this progression into some potentially important musical settings. Perhaps the most common use of the Two / Five / One is in the establishment of a particular key as a tonal center. The resolving of the tritone ( bar 30 and 31 ) within the Five chord being the key in setting up a tonal center. Example 4.

If we can use this sleek harmonic motion to set up a tonal center, can we use it to change tonal centers or key, i.e., to modulate? Of course we can. Modulating from C major to F major using the Two / Five motion. Example 4a.

Examine the jazz standard "Misty" by Errol Garner for this cool and easy Two / Five cadencing to set up the modulation from One to Four.

We can extend the above idea to string a series of different keys together. Jazz players love to do this, as it allows for many different melodic and harmonic realizations. In the following idea, we simply use the Two / Five One cadential motion to create a string of keys, which modulate in a descending fashion by whole steps. Example 4b.

Examine the chord progressions of "How High The Moon" and Miles Davis' contribution "Tune Up" to see this modulating cycle in action. The bridge, in Kenny Barron's "Voyage", reverses the above cycle from descending to ascending, and works the keys up chromatically in the major tonality, creating a cool, exciting and almost startling contrast to the darker, minor tonality of the main theme of the A section.

Can we extract just the "tension cell" of this progression of chords, the Two / Five part, and create different cycles? You bet, this non resolving 2 / 5 cell is a very cool character. Within songs with a brighter tempo, we often find this type of non resolving motion, it creates a exciting and challenging pathway to follow. Many jazz players love to do this as the effect is potentially a cascading of musical color. This harmonic cycling is very common in many of the more advanced jazz styles, oftentimes subbed in whether in the written changes or not. Creating a descending, non-resolving cycle of the Two / Five tension cell. Example 5.

Interesting eh? So where would we use this sort of idea? Well, if the written changes were say 2 / 5 / 1 in C major, could we sub in other cycles of 2 / 5 cells to converge on the tonic from different vectors? Like if C major was the hub of a wagon wheel, D minor / G7 is one spoke eh?, what about the other spokes or vectors, or lines of convergence? Read through John Coltrane's essential "Moments Notice" for a look at the above ideas in action.

Can we go the way of simplicity and extract just one occurrence of the above 2 / 5 cycle and create an essential vamp? Easy enough to do, we find this simple vamp in all sorts of musical places. As an intro, outro, inserted into a tune for extended soloing for players and dancers, and oftentimes as the main harmonic basis for song itself. Example 6.

"Oye Ye Come On Va" by Tito Puente is based on this harmonic motion. Turning up the heat a bit, we can create an essential Latin dance groove using the basic Two / Five cell. Example 6a.

The alternating flat 7 to 6 in the tenor is a cliche addition.

Review. So, cool with the basic theory of the Two / Five / One chord progression as created within the major tonality and some ways to use it? There are quite a few standard jazz tunes in the major tonality that depend on this cycle to take care of business. If available, browse through a jazz real book, simply scanning the changes of tunes for this important cadential motion. With three distinct colors comprising the makeup of the Two / Five / One chord progression and it's slippery modulation properties, the potential exists for a myriad of different substitution possibilities.Click Two / Five / One for a look at some of the possibilities.

Here is a chart looking at the Two / Five / One cycle in each of the 12 major keys, arranged by cycle of fourths. Example 7.

Here is the sound of the above chart. Example 4a.

Here is a chart looking at the Two / Five / One cycle in each of the 12 minor keys, arranged by cycle of fourths. Example 7.

Here is the sound of the above chart. Example 4a.

What about the Two / Five / One chord progression in the minor tonality? Other links for further discussion of chord progressions? Pick and click and off ya go.

The only way on earth to multiply happiness is to divide it. Paul Scherer