The Rootless 251 Progression
Rootless voicings sound more professional then root based voicings and they voice lead much more smoothly in the context of a 251 progression. If you’ve not checked out the rootless voicings tutorial, I’d recommend you check that out before watching this lesson.
In this lesson we work through rootless 251 progressions in a number of different keys using rootless voicings.
Free Downloadable Lesson Supplement
Download this free PDF containing rootless 251 progressions in all 12 keys:
Rootless 251 progressions are also extremely useful in a solo piano context and are a great voicing choice to support soloing and improvisation in your right hand.
The Basic Major 251 Progression
To build a 251 progression, we need the 2, 5 & 1 chords from the scale. In the key of C that would give us D-7, G7 and Cmaj7.
We can use these chords to play a simple root based 251 progression and whilst this might sound OK, the rootless 251 progression sounds much more sophisticated.
What Is The Rootless 251 Progression?
Starting off with the 2 chord, D-7, we add the 9 and drop the root which gives us F – A – C — E which is the 3rd, 5th, 7th & 9th . To get to the 5 chord which is G7, all we have to do is drop one note by half a step. This note is C, the 7th of D-7.
The C drops by half a step to become the 3rd of G7 and the rest of the notes stay the same. We now have the 7th, 9th, 3rd & 13th of G13.
Then to get to the 1 chord, the 7th of G7 which is F drops by half a step to become the 3rd of C major 7 and we play a Type A Rootless Voicing for Cmaj7.
You should notice that the chords lead from one to the next very smoothly and there is also very little hand movement between the chords in a rootless 251 progression.
Playing Rootless 251s in the Left Hand
You need to be able to play rootless 251s in your left hand. These voicings are extremely useful when you come to soloing in your right hand. The reason these that they are useful is because there is very little hand movement between the chords which allows you to focus your attention on creating lines in your right hand.
Type A & Type B Rootless 251 Progression
We have just looked at a Type A rootless 251 in the key of C. Now let’s look at Type B.
To play a Type B Rootless 251, we take the top two notes of the 2 chord and put them on the bottom. This gives us a D-9 chord in its 2nd inversion.
This time, to get to G13 chord, the same movement happens (7th of D drops by half a step to become the 3rd of G). However, now that the 2 chord has been inverted, the 7th is on the bottom so it is the bottom note that drops by half a step and all other notes remain the same.
Finally to resolve to the 1 chord, we play a Type B rootless voicing for Cmaj7.
Lesson Downloads
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Rootless Major 251 Progressions – 12 Keys File Type: pdf
Related Lessons
My Romance follows a 32 measure A-B-A-C form and the tonality is primarily major. The tune is played as a ballad or medium swing feel.
We explore the voicing options for major chords under each note of the Lydian Mode which is a common scale to play over major chords.
We explore voicings for each note of the dorian mode. Watch this and never again get stuck on what to play for minor chords!
Practice Tips
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First of all play the root of the chord in your left hand and the rootless voicing in your right hand and work your way around the circle of fourths.
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Once you are comfortable with this, drop the root and play the voicings just in your left hand.
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Remember to practise both Type A and Type B rootless voicings so that you can always play the 251 in the correct register of the piano.
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You should practice rootless 251s every time you sit at the piano until you can play them in all 12 keys without mistakes. Even if you just do 5 or 10 minutes a day on these progressions, you will eventually master them in all 12 keys.
- The 251 progressions (both major and minor) are the DNA of jazz and so they are the essential theory for you to learn. Virtually every jazz standard will contain a 251 in some form and so memorising these important progression will help you immensely when playing jazz standards.
Rootless 251 Formulas
For rootless major 251s, all you really need to know is these formulas:
Type A:
II Chord: b3-5-b7-9 V Chord: b7-9-3-13 (all that changes is 1 note, the b7 fell by half a step - that’s all!) I Chord: 3-5-7-9
Type B:
II Chord: b7-9-b3-5 V Chord: 3-13-b7-9 (all that changes is 1 note, the b7 fell by half a step to become the 3rd of F7 - that’s all!) I Chord: 7-9-3-5
If you’re looking for a shortcut that is all you need. That’s the blueprint. It works in all 12 major keys. Every time. ;)
I’m wondering what modes/scales to play over the 2, 5, and I. Someone told me that I can play dorian, phyrigian, and aeolion over minor 2nd chords, mixolydian over 5 chords, and lydian over 1 chords. Do you agree with that and recommend it?
Hey Josh 👋
Good question!
In modal theory, we are taught that each chord type has a corresponding scale or multiple scales.
For example a 251 in C Major, the most ‘basic’ chord scales would be:
D-7 = D Dorian Mode
G7 = G Mixolydian Mode
Cmaj7 = C Ionian Mode
If you try to improvise exclusively from the tones of these modes, you will likely find that something is missing and it doesn’t quite sound like the jazz you hear on the records.
One of the missing ingredients is chromatic passing tones and non diatonic tones.
Each mode of the major scale contains 7 notes. This leaves 5 additional tones which can be used as chromatic passing tones and intertwined within your lines. These tones add tension, dissonance and interest to your lines.
The important thing is that your lines are based on the modes of the mode and in particular the chord tones. The primary chord tones and root, 3, 5 & 7. When you do add in non diatonic tones, aim to come back to one of those tones to bring your improvised ideas back in line with the harmony.
It’s all about building tension and releasing the tension. Try play the chromatic scale over any 5 chord and then resolve into the 3rd of the 1 chord. It sounds great.
There are other nice patterns, such as the 6th falling the the #5 to the 5 over a dominant chord. Or over minor chords, the melodic minor mode which contains the major 7th is a beautiful sound.
In jazz there are no “set in stone rules”, just guidelines. If you follow the rules chances are you playing will sound still and boring
Modal theory is the foundation, it gives you the “what” but not the “how”. If you are not listening to jazz regularly and attempting to transcribe your own lines, then you are depriving yourself of the essence of the art. Jazz is not a science, there is no magic bullet to learn to improvise. The more you listen, the richer your jazz music and improvisations will become. This is a very gradual process, that you will be taking for the rest of your life. Embrace it and enjoy it!
Above anything else, I’d recommend that you listen and emulate your favourite players. Listening and transcribing is key. I wish I had figured that out sooner. You need to completely immerse yourself in the music or you will never be able to play it with conviction and sincerity.
Check out the course on improvisation, it will give you a broad overview of general concepts and techniques that you can apply to any tune: https://www.pianogroove.com…
Learn to transcribe as soon as possible too: https://www.pianogroove.com… – hands down the most effective way to learn to improvise!
Hope this helps Josh, and other questions let me know 🙂
Cheers,
Hayden
Hey Josh 👋
Good question!
In modal theory, we are taught that each chord type has a corresponding scale or multiple scales.
For example a 251 in C Major, the most ‘basic’ chord scales would be:
D-7 = D Dorian Mode
G7 = G Mixolydian Mode
Cmaj7 = C Ionian Mode
If you try to improvise exclusively from the tones of these modes, you will likely find that something is missing and it doesn’t quite sound like the jazz you hear on the records.
One of the missing ingredients is chromatic passing tones and non diatonic tones.
Each mode of the major scale contains 7 notes. This leaves 5 additional tones which can be used as chromatic passing tones and intertwined within your lines. These tones add tension, dissonance and interest to your lines.
The important thing is that your lines are based on the modes of the mode and in particular the chord tones. The primary chord tones and root, 3, 5 & 7. When you do add in non diatonic tones, aim to come back to one of those tones to bring your improvised ideas back in line with the harmony.
It’s all about building tension and releasing the tension. Try play the chromatic scale over any 5 chord and then resolve into the 3rd of the 1 chord. It sounds great.
There are other nice patterns, such as the 6th falling the the #5 to the 5 over a dominant chord. Or over minor chords, the melodic minor mode which contains the major 7th is a beautiful sound.
In jazz there are no “set in stone rules”, just guidelines. If you follow the rules chances are you playing will sound still and boring
Modal theory is the foundation, it gives you the “what” but not the “how”. If you are not listening to jazz regularly and attempting to transcribe your own lines, then you are depriving yourself of the essence of the art. Jazz is not a science, there is no magic bullet to learn to improvise. The more you listen, the richer your jazz music and improvisations will become. This is a very gradual process, that you will be taking for the rest of your life. Embrace it and enjoy it!
Above anything else, I’d recommend that you listen and emulate your favourite players. Listening and transcribing is key. I wish I had figured that out sooner. You need to completely immerse yourself in the music or you will never be able to play it with conviction and sincerity.
Check out the course on improvisation, it will give you a broad overview of general concepts and techniques that you can apply to any tune: pianogroove.com/jazz-piano-lessons/how-to-improvise/
Learn to transcribe as soon as possible too: pianogroove.com/jazz-piano-lessons/how-to-transcribe-lines-solos/ – hands down the most effective way to learn to improvise!
Hope this helps Josh, and other questions let me know 🙂
Hayden
Why are there only two types of rootless 251‘s? As the chords do have 4 notes there should be 4 types
HI Matthias,
Yes you are correct, any four-note chord will have 4 possible inversions.
The two types that we cover – Type A & Type B – are the easiest to visualise and execute for beginners.
With those 2 sets, you will always be able to voice the chords in the ‘sweet spot’ of the piano, which is right around Middle C for rootless voicings.
I’d recommend that you learn those 2 sets for all 12 keys as a priority, and then if you desire more options, then you can always explore other starting points on the ii-7 chord.
When we introduce the minor 251 progression later in this course, you will see that you can also add alterations to the V7 chord in major 251s. This will give you more harmonic possibilities to include specific colours and tensions in your major 251 progressions, so there is plenty more to explore with regards to these sets of voicings.
I hope this helps, if I can be of further assistance just let me know.
Cheers,
Hayden
Hello Hayden..Is there a difference between practicing with the circle of 5ths vs the circle of 4ths? Thanks!
Hi Ivan,
No there is no difference, they are just different names for the same thing. Some people say circle of 5ths, others say circle of 4ths.
If you invert any 5th interval, you will see that you then have a 4th interval.
I mention both so that you are aware of both names.
Hope this helps!
Cheers,
Hayden
Hi Hayden, my first post. I also use the 6th instead of the 7th in the Imaj chord making it a C6/9 which also sounds really nice. It works great for type A but not so much for type B. Any reason for that? Does the 6th in the root change the essence of the Imaj? Thanks
HI Manuel 👋
Thanks for posting and great question!
Yes, landing on a 6/9 chord sound beautiful. One of my favourite sounds for major chords.
When in Type B, the 6th becomes the bottom note of the voicing. The 6th is not a primary chord tone (3 & 7) and so the voicing looses some of the ‘harmonic foundation’.
In Type A, the 6th is ‘rubbing up’ again the 5th right in the middle of the voicing, and we have the 3rd (primary chord tone) on the bottom, and so it has a stronger harmonic foundation.
I would recommend using the 6/9 voicing in Type A, and perhaps sticking to the regular 7-9-3-5 voicing for Type B.
I hope this helps, and if I can be of further assistance just let me know.
Enjoy the lessons 🙂
Hayden