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Darryl Gabel One Six Two Five One Progressions

The document discusses 1-6-2-5-1 chord progressions in different keys using four part harmony. It shows examples of progressions starting on different chords and uses secondary dominants for smoother voice leading.

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Lilica Cherokee
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290 views3 pages

Darryl Gabel One Six Two Five One Progressions

The document discusses 1-6-2-5-1 chord progressions in different keys using four part harmony. It shows examples of progressions starting on different chords and uses secondary dominants for smoother voice leading.

Uploaded by

Lilica Cherokee
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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ONE SIX TWO FIVE ONE PROGRESSIONS

Performance Notes

These progressions use a 1 6 2 5 1 commonly referred to as


I vi ii V I using each starting chord as the one or tonic chord.
In this lesson I make a 1 6 2 5 1 progression starting on a diffrent chord from the key of C each time.
The key of C harmonized using four part harmony looks like this
CM7 = 1
Dm7 = 2
Em7 = 3
FM7 = 4
G7 = 5
Am7 = 6
Bm7b5 = 7

In measures 1 - 6 I create a 1 6 2 5 1 progression using CM as my tonic or one chord. Notice the use of the secondary dominant on the six
chord. This makes for better sounding voice leading.
CM9 = I
A7b13 = VI
Dm9 = ii
G7b13 = V
CM9 = I

In measures 7 - 12 what is usually thought of as the two chord in C is now the tonic or one chord. This shifts all the numeric values. So
now if Dm11 is one then Bm11 is six, E7+9 is two, and Am7 is five.

This same concept is used in each progression.

Cmaj9 2 fr.
`
A7 13 5 fr. Dm9 3 fr.
`
G7 13 3 fr. Dm11 5 fr. Bm11 5 fr. E7+9 6 fr. Am7 V 5 fr. Em7 7 fr. Cmaj9
VIII
8 fr.
x x x x x x x x x x x x x x x x x x x

Fmaj7+118 fr.
x
`
B7 13 5 fr.
Fmaj7sus2+11
7 fr. Dm9X 10 fr. G13sus2 10 fr. G/C 8 fr. x F/G 8 fr. Em7 X 10 fr. Am7 12 fr. xD13 10 fr.
x x x x x x x xx x x x x

Am7 open Fmaj9 Bm7 5


` `
E7 13 Bm7 5
` G7+11 2 fr. Cmaj7 2 fr. Fmaj7
x x x x x x x x x x x x x x

Cmaj9 `
A7 13 Dm9 G7 13 ` Cmaj9
^
Gtr I
^ ^ ^ ^
1
I 44
T
A
B

6
I
T
A
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com


ONE SIX TWO FIVE ONE PROGRESSIONS - Artist Page 2 of 3

Dm11 Bm11 E7+9 Am7V Dm11


^ ^ ^ ^ ^
7
I
T
A
B

12
I
T

`
A
B

Em7 Cmaj9VIII Fmaj7+11 B7 13 Em7


^ ^ ^ ^ ^
13
I
T
A
B

18
I
T
A
B

Fmaj7sus2+11 Dm9X G13sus2 G/C Fmaj7sus2+11


^ ^ ^ ^ ^
19
I
T
A
B

24
I
T
A
B

F/G Em7X Am7 D13 F/G


^ ^ ^ ^ ^
25
I
T
A
B
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com


ONE SIX TWO FIVE ONE PROGRESSIONS - Artist Page 3 of 3

30
I

` `
T
A
B

Am7open Fmaj9 Bm7 5 E7 13 Am7open


^ ^ ^ ^ ^
31
I
T
A
B

36
I

` `
T
A
B

Bm7 5 G7+11 Cmaj7 Fmaj7 Bm7 5


^ ^ ^ ^ ^
37
I
T
A
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com

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