The 2 5 1 Progression - Guitar Lesson with Shapes , Tabs and Licks

How is Built the Major 2 5 1 Progression?

The major 2 5 1 chord progression is made up of three basic chords constructed from the first, second and fifth degree of the major scale. 

First of all, be sure to understand a fundamental theoretical element : The harmonization of the major scale which consists in building chords by stacking thirds on each degree of the major scale.

Chords of the 2 5 1 Progression

Let's say we're in the key of C major for this explanation. In C major, the second degree is D, the fifth degree is G, and the first degree is C.

So, the chords in a "2 5 1" progression in the key of C major would be:

• Dm7 (the ii chord, built on the second degree)
• G 7(the V chord, built on the fifth degree)
• Cmaj7 (the I chord, built on the first degree)

In Roman numerals, these chords would be represented as:

• ii - Dm7
• V - G7
• I - Cmaj7

Thus giving the following sequnce.

Dm7 | G7 | CM7 | % |

Therefore, the Roman numeral representation of the "2 5 1" progression in the key of C major would be ii-V-I.

This progression is often used as a cadential progression, leading smoothly from the tension of the V chord to the resolution of the I chord, providing a sense of closure and stability.

II V I In Twelve Keys

Any jazz guitar player must be able to recognize and play a II-V-I in any key. Here it is in all twelve keys.

How to Connect Chords With Guide Tones?

When you want to improvise over a 2 5 1 sequence, the first step is to identify and connect the most important notes of the chords. 

These notes are the third (3) and seventh (7), they guide the movement of the harmony from chord to chord. This is what we call guide tones.

 Let's take an example with a C major 2 5 1 sequence (Dm7 | G7 | Cmaj7) .

• The guide tones of the Dm7 are the minor third (b3) which is F and the minor seventh (b7) which is C.
• The guide tones of G7 are B (3) and F (b7).
• The guide tones of Cmaj7 are E (3) and B (7).

Arpeggios

After understanding and playing 2 5 1 sequences in twelve keys using guide tones as shown in the previous example, you have now to create more elaborate jazz lines using arpeggios.

What's an Arpeggio?

This is a chord whose notes are played one by one, this way you will create fluid lines and play the most important notes.

In the first example, we will play a minor seventh arpeggio (D-F-A-C) over Dm7. This minor seventh (b7) of this arpeggio is connected with the third (3) of G7 and the b7 of G7 is connected with the third of Cmaj7. (the guide tones).

In the second example, we will use two arpeggios : Dm7 (D-F-A-C) and G7 (G-B-D-F). These two arpeggios are connected with guide tones once again.

What Scales To Play Over a 2 5 1 Progression?

Here are the three modes to play generated from tones of the C major scale. These three scales are used for a basic approach for the ii - V - I improvisation.

• The scale starting on the first step of the C major is called Ionian mode (major scale). It will be used to play over the major chord (I) (CM7).
• The scale starting on the second degree of the C major is called D Dorian mode. It's a minor type scale because of its b3. It will be used to play over the minor (II) chord (Dm7).
• The scale starting on the fifth step of the C major is called G Mixolydian mode. It's a dominant  type scale, it contains a major third (3) and a b7. It will be used to play over the dominant (V) chord (G7).

Bebop Scales 

Bebop scales are a nice alternative when you want to add a bebop touch to your playing. They are made up of eight notes, including a chromatic passing tone.

• The Minor Bebop Scale (also called "Dorian bebop scale") is the same scale as the Dorian mode but with a major third (3) between the minor third (b3) and the fourth (4th).

Notice that there are two versions of this scale, one with a passing tone (3) between the b3 and the 4th and one with a passing tone (7) between the b7 and the root (this one has the same intervals as the dominant bebop scale shown below).

It can be used over minor seventh chords, so over the II of the II-V-I cadence.

• ​The Dominant Bebop Scale is also made up of eight notes with a passing tone (7) between the b7 and the root. It can be played over dominant seventh chords (V).

Altered and Half-Diminished scales 

Playing the Mixolydian mode or the bebop scale over the dominant 7th chord will be boring at the long run, that's why it can be interesting to add tensions in your jazz lines by using the altered and the half-whole diminished scales (including some passing tones).

Here are these two fundamental scales that will bring interesting altered lines in your playing.

• The first one is the Altered scale (also called "super Locrian mode"). It is the seventh mode of the melodic minor scale.
• The second one is the Half-whole diminished scale. It contains eight notes (octatonic scale).

Here is a short II-V-I guitar line for beginner, still in the key of D minor, built with the D Dorian bebop scale (D - E - F - Gb - G - A - B - C) and the G dominant bebop scale (G - A - B - C - D - E - F - Gb - G).

Notice that these two scales are connected with two guide tones, namely b7 and b3. You can see a C major seventh arpeggio (C - E - G - B) at the end.

II V I Jazz Backing Tracks

The following bandcamp player provides 12 jazz swing backing tracks in twelve keys for practicing scales and improvisation over the II V I progression.

• Acoustic Bass, drums and piano sound with pre count.
• Medium Swing - 120 BPM
• Wave Files