Two comments: 1.) It's worth noting that the exercise traverses through the circle of fifths. 2.) To anyone aspiring to play jazz piano who is new to 2-5-1: if you become proficient at this exercise, IT WILL TRANSFORM YOUR PLAYING. Trust me, I know from experience. Years ago, I took jazz piano lessons with a teacher who taught me a nearly identical exercise. After I had it under my fingers, he had me embellish it by doing a walking bass line with the left hand (i.e. walking up the scale from the 2 to the 5 and walking down from the 5 to the 1). Finally, he had me learn it with just the left hand, where your hand bounces back and forth between bass notes and the upper chord tones. This last version frees your right hand to play melody or solo over the changes. Before learning this exercise and its variants, I only used basic root-position chord voicings. Once I had this concept down, my playing sounded like jazz. Furthermore, it made playing by ear much easier. I was always decent at figuring out song melodies, but getting the chords right was challenging. With the 2-5-1 pattern, I found that even if I didn't have the chords of popular songs exactly right, I could usually play them such that they were not only recognizable but also used jazz interpretation. I went from sounding amateurish to sounding professional enough to gig a few nights per week at a local Chinese restaurant, providing solo piano background music. For anyone new to jazz piano, this may be the single best video I've seen to date. Edit: for anyone who's interested, I posted a video to demonstrate what I described in this comment. th-cam.com/video/tBFhPD8u6Cc/w-d-xo.html I'm not really a TH-camr and I'm nowhere near as accomplished as Jonny, so don't set your expectations too high, LOL. If anything is unclear, please let me know. I'll do my best to clarify, or post a follow-up video, if necessary.
@@oridoron7 Apologies for not responding sooner. I didn't see your comment until this evening. I'll post a short video in the next few days to demonstrate what I mean.
As a very experienced musician, and claissically trained, I am blown away by the clarity and complexity of information that you pass along here, it is really remarkable to achieve such a level of guidance like this on the internet.
I started 8 months ago, and probably spent 2 weeks trying to get this information and Johnny spins it out in 16 minutes. I used to practice this regularly, but I've been trying to get through method books since I'm still a beginner. But this was so much fun to play, I think I'll pick it up again.
I think we need more exercises about jazz, not only hannon but the esencial like chords progression, passing chords, rithm , the scales, and how to get in and out of the key, Jonny Please share more exercises!! you're the man
Great instructional video! I kept up just about to the point of practicing all twelve keys. Then I was totally lost at sea, so I think I'll be watching this video many more times after I learn the basics and get ready to absorb the rest.
I have to admit: I only watched half of this excellent video. I, a pretty good guitarist who cannot play keyboard🤔, got distracted about half way through. Trying to mentally get the feel of a 2-5-1 chord sequence, I got so vibed up that I paused the video and spent the next few minutes concocting a verse and chorus that are, ahem, pretty damn sick. Think Sultans of Swing meets Another Day of Sun, except COMPLETELY DIFFERENT. Thank you!
Great lesson! I grew up studying classical piano, later became a jazz lover via my time as a trumpeter… and eventually spent most of my music making time on acoustic guitar and as a rock singer. 😂 My point being that although I’m a jazz lover, I’ve never attained a level on any instrument to be a competent jazz player. And although I’ve had exposure to everything discussed here, these was a really great lesson on how to drill those changes in an efficient manner. I look forward to having some fun with this!
Thank you for this exercise, I found it very useful. I've already learned many musical pieces from your lessons. I like your arrangements, it is much easier to learn than others. Your lessons are the best, thank you!
Tq Johnny, I am a guitarist, when I first started Jazz by a Berkeley tutor, he taught me this, then he put the Jamey Abersold backing track 2 5 1 in 12 keys play along...this is what being used in Berkeley. There are many good Jazz improvisation stuff with Jamey's material, I would recommend students to check it out ..
The BEST! :) I found face-to-face music teachers just don't teach like this and this is exactly what I want and need! Having now moved to my piano to re-visit this, Jonny I owe you $ for an hours tuition.
This piano channel is simply awesome. All of the videos are always very usefull... Doesn´t matter if you are not a very well formed in chords theory.... I really like the aproach to the piano plying centered in observing the paterns so then you can understand that kind of theory which is normally kind of hard bussines... It is just how to deal with hard info in an very simply way...
Excellent. As long time guitarist learning piano, I was wondering what the A and B voicings were and how they worked; this explained that perfectly. (wondering why this was never adopted in guitar pedagogy). I'm more inclined to use cycle 4 but that isn't a huge change. Bravo, Jonny!
So Dm7 with the “A” removed is called the “A voicing” and G7 with the D removed and the “B” moved above the F is called a “B voicing”….that shouldn’t confuse anyone.
So much jargon, right? All chords in this drop the 5th. Keep 1,3,7 A voicing: 7th on top. B voicing: 3rd on top. (Go back to 4:40) - So, why? 5th and root are so consonant that they are redundant. “A” voicing: the “usual” in order… 1,3,7
yeah... I understand all this but I don't think naming this A/B voicing concept will help anyone. Especially saying "we call this an A voicing" like this is standard language musicians know.
This has been very helpful. I have a few questions: (1) Should this exercise be practiced with the chord in the left hand seeing that the Jazz melody uses the right hand? (2) Both hands? (3) What other drills can be done to enhance the learning?
haha I watched 3 minutes and felt 1000 things click into place in my brain. like memorizing a room in the dark for ten years and someone turns on the light.
I must be thick as I could not grasp it quickly enough. You never showed how to use the chords when playing a standard? In that situation, would the 7th chords not be played with the left hand only leaving the right hand for playing the melody? Also, I thought that the suitable inversions either first, second or third etc in the left hand would be used but this also blows my mind in trying to determine at speed of playing which inversion to use? I am 74 and have been a note reader all my life and want to learn my 7th chords and suitable inversions but it all seems to overwhelming for my old brain to take in.
Hm? I was waiting for something more mindblowing. What Jonny shows here should be - or is normally - a very standard exercise to learn 2-5-1 progressions.
Standard for you, probably, but in my 40 years of being educated in piano playing this has passed me completely. And just like you not being the only one who already knows the exercise, there will be tons of them like me *not* being aware of the exercise. In general, it is good practice to keep an open mind to things as opposed to setting one's own view as The Standard That Yields For Everyone. And I don't mean this in a condescending way, just as another perspective that might be useful.
could you please let me know what kind of camera setting you use for your keyboard to look so flat ant nice :))) what is the camera :) nice video though! very professional!
I've learned. This don't get mad at your beginning teachers because they didn't show you something. 1. You may not be ready 2. They may not know it. 3 by them not showing you you learned to appreciate it when you learned it. I've had my fair share of sitting blaming my teachers and been blamed as a teacher. And finally had this epiphany
Great exercise for muscle memory! But it only goes so far. When I come across a 2-5-1 in Bb, for example, I'm not gonna have my hands on the 1 chord of C (whole step above) as in the example above. I am gonna have to know the 2-5-1 in Bb without the help of the previous progression. Make sense?
Your comment was at least a year ago so chances are you figured out that this exercise is much more valuable than muscle memory. For example, once you really get familiar with this exercise you'll immediately recognize to simply start the progression with the stated key because that is also the minor seventh of the 2, your first chord. The exercise and variations of it are the key to unlocking this language.
Thank you Jonny, but what I don't understand is why we need to learn to play in different keys? Is it in case a singer cannot sing in a particular key, then you switch key? I'm a mid-beginner in piano.
The 2-5-1 progression is used throughout a large variety of jazz music. Consequently, since all these jazz songs are written in different keys, in order to seamlessly use the 2-5-1 progression in all those jazz songs, you need to be fluid about them in all keys. And indeed, sometimes the song happens to be a tad (tat?) too high or low for a singer, requireing you to transpose a half or whole key.
This is a great exercise and the ii-V7-I is VERY important but in NO WAY will you be able to play 99% of Jazz compositions. Again, this is a wonderful video but a little misleading...
Just a comment that in sheets you are using sharps but on digital keyboard flats are shown for same keys. This is not good, try to fix this since not everyone is common to quickly reverse sharps to flats
Because it’s very stable, can be heard in the root overtones already and does not add much character. Omitting the 5th doesn’t change the overall sound much and leaves more room (and fingers) to the butter notes.
@@plbt5 3rd in the bass is the first inversion, 5th in the bass the second inversion, and 7th in the bass is the third inversion. Sometimes in charts you might also see the second inversion (fifth in the bass) as “C/G”, for example. I think the reason he’s using A and B voicings here is because they are chord shells and not full chords.
@man0sticks I guess A voicing and B voicing are technically not the first and second inversions of Cmaj7 since the root is always at the bottom, but I get your point, the right hand are in the first and second inversions.
Because it’s built on the 2 ed. step of the scale. If it were a major chord it would be in a different key. . Remember this: Major, minor, minor, Major, Major, minor, diminished.
It's true that the 2nd chord in a key is a minor one, but it isn't _why_ it is a minor chord. A minor chord is a chord where the interval between the root and the third is a minor third (in the first inversion). So C - Eflat - G is a minor chord (it's also the 2nd scale degree of B flat), as is A - C - E, etc
More generally, 2 is a minor chord in the Ionian ("natural major") and mixolydian (e.g , white notes starting on G) modes because the triad starting on the second notes of these scales is a minor triad. On the other hand, 2 would be a *major* chord if you were using a Lydian (e.g., white notes starting on F) mode, but of these three major-sounding modes only the Ionian ("major") mode has a naturally-occuring dominant 5 (which gives that feeling of resolution to the 2-5-1).
Great material but you go too fast for me as a beginner. I start to lose you when you do inversions and multiple keys. Can you do a video that goes slower? Thanks
"A-Voicing"? ... "B-Voicing"?? I'd stop watching here. Nope. Triads have: Root-position c,e,g; First Inversion e,g,c; and 2nd Inversion g,c,e. Four-Note-Chords have 3 Inversions plus Root-position. If you leave out the fifth - which is _only_ recommendable_ or let's say _common_ with dominants, it's still *Inversions*. The key thing is to move notes as close as possibly while the roots move in fourth's or fifth's. Skip the nice haircut system. It'll lead nowhere or worse.
I subscribed to full membership with PWJ 3 years ago. I was very quickly overwhelmed by the amount of material there is on the platform, lost my focus and dropped out. I never started with something like this 2-5-1 lesson with chord shells today…
![[#2024MAMA] ROSÉ (로제), Bruno Mars - APT. | Mnet 241122 방송](http://i.ytimg.com/vi/dgGqD28J6aQ/mqdefault.jpg)
00:00 - Intro
00:40 - 2-5-1 Progression
02:04 - 2-5-1 Chords
03:28 - Step 1: Simplify
03:57 - Chord Shells
04:13 - Step 2: Invert
05:49 - Step 3: Apply to the 2-5-1
06:00 - Form 1: ABA
07:33 - Form 2: BAB
08:30 - Step 4: The Exercise
09:46 - Apply to Each Key
15:05 - Play with Backing Track
16:38 - Conclusion
Two comments: 1.) It's worth noting that the exercise traverses through the circle of fifths. 2.) To anyone aspiring to play jazz piano who is new to 2-5-1: if you become proficient at this exercise, IT WILL TRANSFORM YOUR PLAYING. Trust me, I know from experience.
Years ago, I took jazz piano lessons with a teacher who taught me a nearly identical exercise. After I had it under my fingers, he had me embellish it by doing a walking bass line with the left hand (i.e. walking up the scale from the 2 to the 5 and walking down from the 5 to the 1). Finally, he had me learn it with just the left hand, where your hand bounces back and forth between bass notes and the upper chord tones. This last version frees your right hand to play melody or solo over the changes.
Before learning this exercise and its variants, I only used basic root-position chord voicings. Once I had this concept down, my playing sounded like jazz.
Furthermore, it made playing by ear much easier. I was always decent at figuring out song melodies, but getting the chords right was challenging. With the 2-5-1 pattern, I found that even if I didn't have the chords of popular songs exactly right, I could usually play them such that they were not only recognizable but also used jazz interpretation. I went from sounding amateurish to sounding professional enough to gig a few nights per week at a local Chinese restaurant, providing solo piano background music.
For anyone new to jazz piano, this may be the single best video I've seen to date.
Edit: for anyone who's interested, I posted a video to demonstrate what I described in this comment. th-cam.com/video/tBFhPD8u6Cc/w-d-xo.html
I'm not really a TH-camr and I'm nowhere near as accomplished as Jonny, so don't set your expectations too high, LOL. If anything is unclear, please let me know. I'll do my best to clarify, or post a follow-up video, if necessary.
Wow. Love how you broke it down as well. Thank you
@sgringo
I didn't get the last part of the LH, that free your right hand.
How do you bounce? Did you mean like stride piano?
Agreed.
@@oridoron7 Apologies for not responding sooner. I didn't see your comment until this evening.
I'll post a short video in the next few days to demonstrate what I mean.
@@sgringo that would be great and well appreciated.
Thanks!
As a very experienced musician, and claissically trained, I am blown away by the clarity and complexity of information that you pass along here, it is really remarkable to achieve such a level of guidance like this on the internet.
Are You Real?
@@erforderlich5274 i think so, I second this; however, I am not a musician, I’m a violist.
This guy is honestly my favorite piano tutorial guy on TH-cam. Very easy to understand and very practical skills. Thanks for doing what you do, man!
I started 8 months ago, and probably spent 2 weeks trying to get this information and Johnny spins it out in 16 minutes. I used to practice this regularly, but I've been trying to get through method books since I'm still a beginner. But this was so much fun to play, I think I'll pick it up again.
This was very easy to follow. Thank you!
I think we need more exercises about jazz, not only hannon but the esencial like chords progression, passing chords, rithm , the scales, and how to get in and out of the key, Jonny Please share more exercises!! you're the man
An excellent teacher!!!
Great instructional video! I kept up just about to the point of practicing all twelve keys. Then I was totally lost at sea, so I think I'll be watching this video many more times after I learn the basics and get ready to absorb the rest.
Great basic refresh
I have to admit: I only watched half of this excellent video.
I, a pretty good guitarist who cannot play keyboard🤔, got distracted about half way through. Trying to mentally get the feel of a 2-5-1 chord sequence, I got so vibed up that I paused the video and spent the next few minutes concocting a verse and chorus that are, ahem, pretty damn sick. Think Sultans of Swing meets Another Day of Sun, except COMPLETELY DIFFERENT.
Thank you!
Also, subscribed!
Great lesson!
I grew up studying classical piano, later became a jazz lover via my time as a trumpeter… and eventually spent most of my music making time on acoustic guitar and as a rock singer. 😂
My point being that although I’m a jazz lover, I’ve never attained a level on any instrument to be a competent jazz player. And although I’ve had exposure to everything discussed here, these was a really great lesson on how to drill those changes in an efficient manner.
I look forward to having some fun with this!
Thank you for this exercise, I found it very useful. I've already learned many musical pieces from your lessons. I like your arrangements, it is much easier to learn than others. Your lessons are the best, thank you!
Tq Johnny, I am a guitarist, when I first started Jazz by a Berkeley tutor, he taught me this, then he put the Jamey Abersold backing track 2 5 1 in 12 keys play along...this is what being used in Berkeley. There are many good Jazz improvisation stuff with Jamey's material, I would recommend students to check it out ..
The BEST! :) I found face-to-face music teachers just don't teach like this and this is exactly what I want and need! Having now moved to my piano to re-visit this, Jonny I owe you $ for an hours tuition.
Jonny, it’s easier to learn the chords rootless all in the LH, and much more jazzy. Advantage is that it frees up the RH.
ThanksJohnny. I'm constantly looking for micro adjustments in my voicings, and this is something else that I can play with.
Much appreciated.
WOW!! Great lesson...very well explained!
This piano channel is simply awesome. All of the videos are always very usefull... Doesn´t matter if you are not a very well formed in chords theory.... I really like the aproach to the piano plying centered in observing the paterns so then you can understand that kind of theory which is normally kind of hard bussines... It is just how to deal with hard info in an very simply way...
Thx Jonny, really really GREAT summary, crystal clear and very useful !
This is great stuff jonny,kinda shows how songs are constructed,thx.
Very useful exercise perfectly explained
This is EXACTLY WHAT I WANT TO LEARN ! I’m going to take one of these 2 courses, I’m just not sure which 1 to start with…
I usually used the ABA form when I play 2-5-1
Indeed I enjoyed it ! As usual !
this guy is actually agreat teacher... i havent even started yet
This sounds good for beginners, thanks and can’t wait to try it when I wake up tomorrow!!
Excellent. As long time guitarist learning piano, I was wondering what the A and B voicings were and how they worked; this explained that perfectly. (wondering why this was never adopted in guitar pedagogy). I'm more inclined to use cycle 4 but that isn't a huge change. Bravo, Jonny!
Just keep notes close. That's all.
Really great video! Thankyou.
Very useful video. Thank you so much.
So Dm7 with the “A” removed is called the “A voicing” and G7 with the D removed and the “B” moved above the F is called a “B voicing”….that shouldn’t confuse anyone.
So much jargon, right?
All chords in this drop the 5th.
Keep 1,3,7
A voicing: 7th on top.
B voicing: 3rd on top.
(Go back to 4:40)
-
So, why?
5th and root are so consonant that they are redundant.
“A” voicing: the “usual” in order… 1,3,7
yeah... I understand all this but I don't think naming this A/B voicing concept will help anyone. Especially saying "we call this an A voicing" like this is standard language musicians know.
@@Danilo8208SS I Googled it, and "A and B voicing" does seem to be terminology that musicians use.
... very good systematic outline of the structural phenomenon - thanx for uploading! David from Germany, the silver fox 😉🦊
This has been very helpful. I have a few questions: (1) Should this exercise be practiced with the chord in the left hand seeing that the Jazz melody uses the right hand? (2) Both hands? (3) What other drills can be done to enhance the learning?
Awesome!
You are the best always always always
haha I watched 3 minutes and felt 1000 things click into place in my brain. like memorizing a room in the dark for ten years and someone turns on the light.
Now I can comp on Giant Steps 😉!
This is called voice leading, where the seventh resolves down and the leading tone resolves up. Basic voice leading
Ya, he called it voice leading in the video too. Nice observation.
Grazie
Brilliant👍👏
I must be thick as I could not grasp it quickly enough. You never showed how to use the chords when playing a standard? In that situation, would the 7th chords not be played with the left hand only leaving the right hand for playing the melody? Also, I thought that the suitable inversions either first, second or third etc in the left hand would be used but this also blows my mind in trying to determine at speed of playing which inversion to use? I am 74 and have been a note reader all my life and want to learn my 7th chords and suitable inversions but it all seems to overwhelming for my old brain to take in.
Hm? I was waiting for something more mindblowing. What Jonny shows here should be - or is normally - a very standard exercise to learn 2-5-1 progressions.
Standard for you, probably, but in my 40 years of being educated in piano playing this has passed me completely. And just like you not being the only one who already knows the exercise, there will be tons of them like me *not* being aware of the exercise.
In general, it is good practice to keep an open mind to things as opposed to setting one's own view as The Standard That Yields For Everyone. And I don't mean this in a condescending way, just as another perspective that might be useful.
Amazingly helpful. Thank you!
could you please let me know what kind of camera setting you use for your keyboard to look so flat ant nice :))) what is the camera :) nice video though! very professional!
I've learned. This don't get mad at your beginning teachers because they didn't show you something. 1. You may not be ready 2. They may not know it. 3 by them not showing you you learned to appreciate it when you learned it. I've had my fair share of sitting blaming my teachers and been blamed as a teacher. And finally had this epiphany
You got both hands playing harmony. Who’s playing melody?
Great exercise for muscle memory! But it only goes so far. When I come across a 2-5-1 in Bb, for example, I'm not gonna have my hands on the 1 chord of C (whole step above) as in the example above. I am gonna have to know the 2-5-1 in Bb without the help of the previous progression. Make sense?
Your comment was at least a year ago so chances are you figured out that this exercise is much more valuable than muscle memory. For example, once you really get familiar with this exercise you'll immediately recognize to simply start the progression with the stated key because that is also the minor seventh of the 2, your first chord. The exercise and variations of it are the key to unlocking this language.
Thank you Jonny, but what I don't understand is why we need to learn to play in different keys? Is it in case a singer cannot sing in a particular key, then you switch key? I'm a mid-beginner in piano.
The 2-5-1 progression is used throughout a large variety of jazz music. Consequently, since all these jazz songs are written in different keys, in order to seamlessly use the 2-5-1 progression in all those jazz songs, you need to be fluid about them in all keys. And indeed, sometimes the song happens to be a tad (tat?) too high or low for a singer, requireing you to transpose a half or whole key.
@@plbt5 not to mention modulations within songs, also very common
This is a great exercise and the ii-V7-I is VERY important but in NO WAY will you be able to play 99% of Jazz compositions. Again, this is a wonderful video but a little misleading...
the way you look tonight = I - IV - II - V
Just a comment that in sheets you are using sharps but on digital keyboard flats are shown for same keys. This is not good, try to fix this since not everyone is common to quickly reverse sharps to flats
Huh?
So ... Simplification by super- _complication._ -
Great.
Where do I begin? 😂
Is there a reason why the 5th not is most commonly omitted?
Because it’s very stable, can be heard in the root overtones already and does not add much character. Omitting the 5th doesn’t change the overall sound much and leaves more room (and fingers) to the butter notes.
@@UnderAnElephant ohhhh ok, thank you!
It’s not needed.
Referring to first and second inversion chords as A and B is unnecessary and potentially confusing.
What would be the alternative way to refer to them? I know that in Dutch it is called differently but I must admit that I forgot the terms 😳.
@@plbt5 3rd in the bass is the first inversion, 5th in the bass the second inversion, and 7th in the bass is the third inversion. Sometimes in charts you might also see the second inversion (fifth in the bass) as “C/G”, for example. I think the reason he’s using A and B voicings here is because they are chord shells and not full chords.
Maybe its better to refer to them with letters thats not included in the tonal system. X, Y and Z is allways nice.
I thought A and B were referring to voicing, not intervals?
@man0sticks I guess A voicing and B voicing are technically not the first and second inversions of Cmaj7 since the root is always at the bottom, but I get your point, the right hand are in the first and second inversions.
Why is the 2 a minor chord?
Because it’s built on the 2 ed. step of the scale.
Because it’s built on the 2 ed. step of the scale. If it were a major chord it would be in a different key. . Remember this: Major, minor, minor, Major, Major, minor, diminished.
@@davidreidenberg9941 Thank you.
It's true that the 2nd chord in a key is a minor one, but it isn't _why_ it is a minor chord. A minor chord is a chord where the interval between the root and the third is a minor third (in the first inversion). So C - Eflat - G is a minor chord (it's also the 2nd scale degree of B flat), as is A - C - E, etc
More generally, 2 is a minor chord in the Ionian ("natural major") and mixolydian (e.g , white notes starting on G) modes because the triad starting on the second notes of these scales is a minor triad. On the other hand, 2 would be a *major* chord if you were using a Lydian (e.g., white notes starting on F) mode, but of these three major-sounding modes only the Ionian ("major") mode has a naturally-occuring dominant 5 (which gives that feeling of resolution to the 2-5-1).
I love steamy children
Great material but you go too fast for me as a beginner. I start to lose you when you do inversions and multiple keys. Can you do a video that goes slower? Thanks
I'd need a 88 note key board 😏
"A-Voicing"? ... "B-Voicing"?? I'd stop watching here. Nope. Triads have: Root-position c,e,g; First Inversion e,g,c; and 2nd Inversion g,c,e. Four-Note-Chords have 3 Inversions plus Root-position. If you leave out the fifth - which is _only_ recommendable_ or let's say _common_ with dominants, it's still *Inversions*. The key thing is to move notes as close as possibly while the roots move in fourth's or fifth's.
Skip the nice haircut system. It'll lead nowhere or worse.
Dude, just play the excercise first than talk it through.
The wording in the thumbnail is painful...
I subscribed to full membership with PWJ 3 years ago. I was very quickly overwhelmed by the amount of material there is on the platform, lost my focus and dropped out. I never started with something like this 2-5-1 lesson with chord shells today…