Chord voicings for II-V-I

2-5-1 Chord Sequence in Jazz

This lesson is about the 2-5-1 chord sequence, possibly the most famous chord progression in jazz. You've already played it in your 1625.

Understanding the Sequence

• If you take the last bar of that, that's a 2-5 leading back to I.
• In the key of C, be aware that those chords go up in fourths:
  • D to G to C.

This is why you could call this type of sequence a cycle.

When spotting 2-5-1s, you need to look for that root movement:

1. The two chord (first chord) is a minor seventh.
2. The second chord is a dominant seventh.
3. The last chord is back to one, the major seventh.

So, the progression is: Minor → Dominant → Major roots up in fourths.

Once you've spotted that, you have the definition of a 2-5-1.

Playing the Chords

Now let's look at how you might play those chords:

• Start with D minor 7 (root position):
  • You don't need to jump to G.
  • Instead, use a second inversion of G7.
  • Keep the same bottom note (fifth on the bottom of the G7 chord).
  • Then keep the top two notes in place and just go to root position C major.

Practice Tip:

• Use a metronome set at 100 beats per minute.
• Play those chord shapes round and round until you get used to them: 2-5-1 in C.

Adjusting the Keys

You could do that a bit higher if it feels too low or if you want to be in the center of the keyboard:

• Start with the second inversion on D minor (A on the bottom).
• This takes you to root position G7, and then finish back up on second inversion C.

Again, try that with the metronome too, giving the whole bar on C. You can vary the rhythm a bit as long as you keep the overall pulse going.

Short vs. Long 2-5-1

This is called a short 2-5-1 because the D minor and the G7 only have two beats each (they're half a bar each).

You often get each chord lasting a bar each, which would make a four-bar pattern instead of a two-bar pattern.

I'll demonstrate this in the key of B flat:

• C minor 7 is the 2 chord.
• F7 is the V chord.
• B flat major 7 is the 1 chord.

Practice in Both Hands

Try that in both hands and practice with four clicks (a chord an octave lower in the left hand):

• 2, 3, 4, back to C minor until you don't have to think about those shapes.

Introduction to "Perdido"

The next tune, Perdido, is also a 32-bar tune like Leaping In.

However, unlike Leaping In, it's not really a rhythm changes tune:

• It doesn't have a 1-6-2-5 turnaround.
• It actually starts on the II chord.

In the key of B flat, the first chord is C minor 7, just as in the long 2-5 we just practiced.

It's also got a dominant seventh cycle as a bridge, so it does share that in common.

But now we're in the key of B flat, so the cycle will start on the 3 chord, D7, instead of starting on E7, like in Leaping In.