Common Chord Progressions in Jazz

In this lesson, we're going to introduce some common chord progressions that will come up in jazz tunes.

Overview of Chord Navigation

In the modal chapter, we learned how to build a palette of chords within a key. Now, we'll start looking at ways to navigate these chords to create progressions and allow phrases to develop within chord sequences.

The 2-5-1 Progression

The most common chord sequence in jazz is called a 2-5-1 progression.

• This progression gets its name from the roots that move from:
  • Chord 2
  • Chord 5
  • Chord 1

The Perfect Cadence

Before we begin to plug these into some tunes and explore how they work in jazz, let's look at the V-I progression, which predates jazz music and is known as a perfect cadence.

• A perfect cadence serves as a kind of musical full stop.

Example in C Major

Thinking in C major, I'm going to play:

• Chord V: G
• Chord I: C

You might have heard a classical piece of music ending with this progression. The root movement really has a way of heralding the end of a piece, providing a sense of closure.

"Melodically, another way to think about this is if I play this phrase, you can feel a pull towards the last note, giving a sense of resolution, a musical full stop, if you like."

Listening Exercise

Check out the recorded examples that demonstrate this with the piano. You'll hear the chords underneath that famous melody, and notice how it doesn't resolve the first time, but does the second time, creating a more satisfying ending.

Building the V Chord

Now, how do we build a chord on our V?

• Thinking back to our modes, if it's a V chord, I want it to be a Mixolydian mode and therefore a seventh type chord.
• I will play a G7 chord that will pull towards my C major resolution.

Creating Tension

What really creates the tension in the V chord is the tritone interval, often referred to as the devil in music.

• In this case, the tritone is between the third and seventh of the G7 chord.

This sense of dissonance is created with the "devil in music" interval, which then resolves back to a lovely, comfortable major third.