Lesson 6 Chord Progression —Two-Five and Cyclic chord progression—
- Two-Five progression
Let’s see this usual chord progression.
V7(dominant)→I(tonic) (or IM7)
The motion from V7 (dominant) to I (tonic) is basic. (For example: G7→C in C key）
IIm7(subdominat)→V7(dominant)→I(tonic)
This progression is called “Two-Five”, occurring frequently in jazz. (For example: Dm7→G7→C in C key.)
In the motion subdominant→dominant→tonic, the subdominant is often IVM7 in pop songs, but is often IIm7 in jazz.
Above is “two-five” of major key. Then, what is “two-five” of minor key? Thinking about diatonic chords of miner key…
This is. But actually…
IIm7-5(subdominant)→V7(dominant)→Im(tonic)
This is. 7th chord is more dominant-like sound (suspense) than minor 7th chord, so V7 is often used instead of Vm7. (For example: Bm7-5→E7→Am in Am key.)
- Cyclic chord progression
I(tonic)→VIm7(tonic)→IIm7(subdominat)→V7(dominat)
This progression is called “Cyclic chord progression”, heard fluently repeated. (For example: C→Am7→Dm7→G7 in C key.)
The motion of root tones (1st tones) of each chords (VI→II、II→V、V→I) is “5th progression”, so these chord move fluently. (VI is 5th for II, II is 5th for V, V is 5th for I.)
For your information, if we change the chords order of “cyclic chord progression”
IIm7(subdominant)→V7(dominant)→I(tonic)→VIm7(tonic)
and chande I into IIIm7 (same as tonic)…
IIm7(subdominant)→VI(dominant)→IIIm7(tonic)→VIm7(tonic)
This chord progression is called “Reverse Cyclic progression”, sometimes used as ending of tracks. (For example: Dm7→G7→Em7→Am7 in C key.)
- Point
Two-Five progression
major
minor
Cyclic progression
