C O N T AC T

I N T RO DUC TION PROG R ES S IONS S T A ND A R D S B R ID G E S F E E DBA CK

T HE B U I L D I N G B L OC KS
Two-five-one progression, its variations and
extensions.
The chord progression commonly known as two-five-one is present in virtually every style
of western music, but its systematic use is particularly prominent in jazz. Its origin and history
can (and should) be studied elsewhere, but for our purposes, we will define it as a progression
that encapsulates the sound of the diatonic system, containing the 3 basic chordal qualities
minor, dominant and major with the root moving in intervals as represented in the circle of
fourths*. The progression creates a strong tension-and-release dynamic by moving from the
minor chords, to the dominant and resolving to the major 7. Finally, this chord progression
clearly establishes a tonality (the key of a song).

Because of the nature of diatonic harmony, in which the same chord can be spelled in
multiple ways, the progression generates several variations. Moreover, the root movement
can be continued further beyond the I chord or can precede the II chord, resulting in
extensions.

Another fundamental aspect of chord progressions is voicing (the notes forming the chord)
and voice leading: Observe how one or more chords voices ascend or descend chromatically
when moving to the next chord of the progression. Voice leading is one of the keys to
building coherent melodic lines, a necessary requirement of improvisation.

Below are some of the most common variations and extensions; in the standards section you
will string them together to form a song.

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* Typically the circle of fifths is used in classical musics harmony, while the circle of fourths is more common
in jazz harmony analysis.

SY MB OL C ON V E N T I ON S: Major 7 = 7 | Minor 7 = 7 | Dominant 7 = 7 | Diminished 7 = 7 | Half Diminished 7 =

II V I PROGRESSION

This progression is the starting point familiarize with its sound and learn to recognize it by ear.

251 II 7 V7 I 7
II V I MINOR PROGRESSION

In its minor form, the II V I progression present some peculiarities that would required a lenghty explanation, which is outside the scope of this
site; however there are many sources available for a detailed harmonic analysis of this progression.

2 5 1 minor II 7 V 7 altered I 7

II V I VI TURNAROUND

An extension of the II V I obtained by adding a VI chord to the progression as a mean to return to the II chord, and thus resulting in a turnaround.
The VI chord can be played as minor 7 or dominant 7.

2516 II 7 V7 I 7 VI 7

I VI II V TURNAROUND

Begin the previous progression on the I chord, and you get an overwelmingly popular turnaround. Here too, the VI chord can be played as minor
7 or dominant 7. There are artists that have built entire careers with songs based strictly on this chord sequence!

1625 I 7 VI 7 II 7 V7

III VI II V T U R NA R O U N D

A variation of the previous turnaround obtained by substituting the I with a III minor, which are interchangeable chords because of their
overlapping voicing. A very common turnaround, and once again, VI chord can be played as minor 7 or dominant 7.

3625 III 7 VI 7 II 7 V7

VI II V I E X T E NS I O N

Begin the I VI II V progression on the VI chord and the result is not a turnaround but rather an extension, appearing in the beginning of many
standards in minor key. In this case the VI chord clearly cannot be played as a dominant 7.

6 2 5 1 extension VI 7 II 7 V7 I 7

V OI C E L E A DI N G P R O G R E S S I O N - U P

All progressions contain voice leading, but the voice movement of this progression gives a definite climbing feeling.

climb I 7 I 7 II 7 II 7 III 7

V OI C E L E A DI N G P R O G R E S S I O N - D O W N

This progression is found in measure 5 of I Got Rhythm, and occurs in countless songs. When you play it, notice the descending voice leading.

descend I 7 I7 IV 7 IV 7
 B A C K DO O R P R O G R E S S I O N

Another very common progression, used ofted as a device to return to the home key. Notice that the IV and the VII can be considered the first
two chords of a II V I progression in the key which is a minor 3rd above the home key. The practical effect is that, for the duration of this cell, the
home key becomes minor.

backdoor IV 7 VII 7 I 7

T R I T O NE S U B S T I T U T I O N

An apparently incongrous progression, which however is harmonically correct when properly analyzed, and most of all, sounds quite natural.

tritone II 7 II7 altered I 7

B E B O P T U R NA R O U N D

A progression used mostly as a blues turnaround.

bebop turnaround I 7 III7 VI 7 II 7

Jazz Standards Visual Aid PR E V : INTR O DUCTIO N | NE X T: S T AN DARDS