LESSON 1
Congratulations on taking the first step towards learning how to play Jazz.
There is no concept more essential in learning how to play jazz than what is known as the two - five - one (251). The songs (known as “standards”) that most jazz artists play on gigs are made up of 251’s.
What is the 251?
In its simplest form, the 2 5 1 is simply referring to the 2nd note, 5th note and 1st note of a major scale. For example, in a C major scale which comprises the notes C D E F G A B and C we would be referring to the D (2nd note), the G (5th note) and the C (1st note or 8th note or aka the tonic). These notes lay the foundation for learning the 2 5 1 chord sequence.
Exercise 1. Try playing an ascending (going up) C major scale slowly and then play the notes D G and C holding each note for a couple of seconds each. Do this exercise 2-3 times. See if you can hear the relationship between the 2nd note, the 5th note and the 1 note. After a little while the 5th note will sound like it wants to resolve (go home) to the 1 note (C). Don’t worry if you dont hear the resolution straight away, it will become easier to hear as you progress through each of the exercises below.
Exercise 2. Try playing an ascending (going up) C major scale slowly and then play the notes D (2) F(4) D (2) F (4) followed by G(5) B (7) G (5) B (7) and then C (1). Do this exercise 2-3 times. See if you can hear the relationship between the 2nd note, the 5th note and the 1 note. After a little while the 5th note will sound like it wants to resolve (go home) to the 1 note (C). Don’t worry if you dont hear the resolution straight away, it will come when your ear is ready.
Exercise 3. Try playing an ascending (going up) C major scale slowly and then play the notes D (2) F (4) A (6) F (4) followed by G (5) B (7) D (2,9) B (7) and then C (1) E (3) G (5) E (3) C (1). Do this exercise 2-3 times. I’ll bet you are now starting to hear the relationship between the 2 note, the 5 note and the 1 note.
It also just so happens that by playing the 3 exercises above you have now learnt a D minor chord (D F A), a G major chord (G B D) and a C major chord (C E G). Who said this jazz stuff was hard to learn? When we talk about the 251 as a harmony or chord changes this is the progression in its simplest form we are talking about - D minor - G maj - C major.
You would have noticed in exercise 3 that I referred to the D note as the 2 note and the 9 note. Here is why. When you play a C major scale one octave (8 notes) the notes are assigned the degrees (numbers) below each note.
However, when we continue the scale past the first octave the 2 note will become the 9 note (see below). This will become important later on as we learn about chord extensions and alterations. Here is a C major scale over 2 octaves with the scale degrees noted accordingly. It is worth pointing out that whilst the table below refers to the B in the second octave as the 14th I have never come across it being referred to in that way or the C as the 15th. The C is usually referred to as the 1 or the tonic. I’ve also never heard the 10th note referred to in this way. Later on, as you progress we will refer to the 9th degree, 11th degree and the 13th degree.
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Important!!
There is a lot to learn in this first lesson. Make sure you are familiar with the content before going on to lesson 2. Don’t be in a rush, it’s important that you build a solid foundation. If anything above is not clear, send me a message.
It’s also worth pointing out that the number approach you are being introduced to is not a ‘baby’ way of learning the material. I know for a fact that a lot of the great players today think in terms of numbers when learning tunes and their chord progressions.
For those of you that want to work on additional exercises to the 3 exercises set out above, here are some more that will help you embed the sound of the 2 5 1.
See you in lesson 2!
Exercises:
D A F D, G D B G, C G E C
D F D A, G B G D, C E C G, C.
F D F A, B G B D, E C E G, C.
F D A F, B G D B, E C G E, C.
A F D F, D B G B, G E C E, C.
A D F A, D G B D, G C E G, C.