Tag Archives: 2 5 1 chord progression

Simple And Easy Approach To A Minor 2 5 1

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The minor 2 5 1 is difficult because you need more scales for it and the m7b5 and dom7(b9) chords are sounds we are less familiar with. But you can actually get started improvising on this progression quite easily and both nail the changes and play something that sounds like music and not just exercises.

In this video, I am going to go over how you can get more used to the chords and start improvising building from 2 arpeggios and adding the rest along the way, step by step.

 

Learn the chords, Play Them and Listen to Them

The first step here is really simple: Let’s play the chords of a II V I in G minor.

This is really quite simple if you want to improvise over the chords then you want to know what they sound like. Playing them will help you hear how the harmony is moving and feel the time, all basic but very useful stuff.

Play this a few times:

Then you can start playing some other rhythms and add a little interpretation to it like this, where ou get a little more used to it then you can try to change it up a little, add some rhythm, and a leading chord.

Arpeggios and how to solo with them

Now you have played the chords a few times and you have an idea about how they sound.

I am going to show you 2 arpeggios and a trick that will help you nail the changes on this progression.

First, you need an Aø Arpeggio

 

 

 

 

 

and then you need a Gm6 arpeggio:

 

A “Hack” for the D7(b9)

Now you are probably wondering what to do with the D7 chord since there is no arpeggio for it, but that is pretty simple.

Since you already know the Aø arpeggio then the arpeggio that you can use for the D7 is the same notes except that you change the G to an F# like this:

Aø:

F#dim:

 

 

 

 

 

I know that this sort of makes this 3 arpeggios and not two, but for my students, this really has worked very well so maybe give it a shot 

Practice them on the progression

Let’s go over these on the progression. Here are two exercises, but you can explore it more if you want to.

A basic version could be this:

And a descending variation to also check out the upper part of the arpeggios:

How To Solo with the arpeggios

Now you can start practicing to make lines with these arpeggios and it is really really easy to make the D7 clear because there is only one note changing: G becomes and F# so for now just try to hit that F# on the 1 of the D7 bar, then you can hear in your solo how the chord changes.

In the same way, try to make melodies that smoothly move from the D7 to the Gm6 by picking notes that are close to each other when you go from one chord to the next.

You can hear me play these examples in the video, both rubato and in time.

In the example below you can see how I move from G to F# to emphasize the D7 and from Eb to D to really bring out the resolution to Gm6:

Similar to the previous one, but now resolving to Bb on the Gm6:

And the final example that is again spelling out the D7(b9) by playing the F# on beat 1 and resolving to the 5th of Gm6.

As you can hear you in the last example, you can also change chord on the 4 and which is a nice change from just hitting the downbeat.

Try to play these and then try to make your own lines, in the beginning then just hit that F# on the D7 so you can really hear that change.

Adding the Scales

Now we can add the scale notes around the notes we already have.

There are three scales in use on the minor II V I:

Aø is from Bb major, or G natural minor
D7 is from G harmonic minor
Gm6 from G melodic minor

You can play them through the progression like this:

But you also want to check out the complete scale positions, so for Aø:

For D7:

 

 

 

 

 

 

And for Gm6:

Small note on CAGED or 3NPS

You may have noticed that this is actually using CAGED positions which I don’t normally use, but the Student that I originally made this for was using those so I kept the whole thing in that system. In the end, scale fingering systems are not that important🙂

Licks with Scales and Arpeggios

With this material,  you can add notes around the arpeggio notes. In the added notes are mostly used as melodic passing notes.

The second example again illustrates how you can change to the next chord on the 4&, both on the D7 and on the Gm6.

Put this into a song

Autumn Leaves – Solo Lesson 2

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2 5 1 – How To Solo with Diatonic Arpeggios (the most important approach)

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You Need to be able to improvise over a II V I or 2 5 1 in Jazz. In this video, I am going to show you how you can get started improvising over this progression using the scale and the diatonic arpeggios in that scale.

The examples are a 2 5 1 in C major, a scale position and the diatonic arpeggios in that position. Then I am going to give you some examples of lines using the basic arpeggios of the chords but also a few other very useful suggestions. Then I am going to add the triads in there, and in the end, you have a lot of material to work with from this very basic approach.

This is the most important part of how I improvise. Having a set of arpeggios that work for a chord in a progression is a great way to have lots of options when you improvise. So you learn to think the chord but you have 8 or 9 different arpeggios that you can use when you are improvising.

The 2 5 1 chords and scale

One of the most important and common chord progressions is the 2 5 1, sometimes written with Roman numerals as II V I.

In this lesson I am going to focus on how to improvise over this progression in the key of C major.

First let us look at how t play the C major scale and then the chords contained in there.

Building Diatonic Chords in C major

If you build diatonic chords in a scale then you stack thirds in the scale. In C major that would be:

C major : C D E F G A B C

Stacking 3rds:

1 C E G B = Cmaj7

2 D F A C = Dm7

3 E G B D = Em7

4 F A C E = Fmaj7

5 G B D F = G7

6 A C E G = Am7

7 B D F A = Bø

How to play these chords is shown here below

As you can see I have added numbers to each of the chord signifying the degree in the scale.

This is how to understand the 2 5 1 progression. A 2 51 in C major is shown below:

Practicing and Playing Diatonic Arpeggios

The next thing to check out how to play the arpeggios of all the chords in the scale. Playing each of the chords within the scale is shown here below.

Of course there are now more chords and arpeggios than we need, but that will become very useful later.

Putting the arpeggios in the Progression

The first logical thing to practice now is to take the arpeggios throught the progression. That is what is shown here below:

Making Great Licks with Basic Arpeggios

Already just using the arpeggios, so the basic chord tones of each chord. You can make some great licks:

Really using Arpeggios (so not just playing the arpeggios..)

When you check out solos from famous Jazz Artists you will notice that their lines are not only consisting of the arpeggios. The melodies are a mic of scale notes and arpeggios, but the arpeggios are on the heavy beats and work as a frame to hold the melody together.

An example of this is shown here below:

The most important Other arpeggio

Now that you know the arpeggio for each chord and can work on incorporation it in lines that also mix it with the scale. We can haveea look at the next arpeggio to check out which wil almost always work in a line: The arpeggio from the 3rd of the chord

For the progression we have these arpeggios:

Dm7: Arpeggio Fmaj7

G7: Arpeggio – Bø

Cmaj7: Arpeggio Em7

Practicing this on the progression becomes this exercise:

Making lines with the Arpeggios from the 3rd.

Now with two arpeggios for each chord you can make a lick like this:

And mixing it with the scale then something like this is possible

Adding the mighty Triad!

One of the strongest melodies we have is triads. The diatonic triads as arpeggios in the scale is shown here below.

Finding triads for the chords

There are several triads that fit with each chord.

For a Dm7 you can use the three below.

Notice that if you have a Dm7(9) arpeggio: D F A C E then you have all 5 notes that make up the 3 triads.

The same approach applied to G7 is yielding these 3 triads. So a triad from the root, 3rd and 5th.

And finally we have the C, Em and G for Cmaj7:

Using Triads in a 2 5 1 Lick

Putting some of the triads to use in a lick could give us something like this:

If you want to explore more ideas with Arpeggios and scales in the key of C major then check out this lesson based on a solo on the Strayhorn tune Take The A-train:

Take The A-Train – One Position Workout

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