2-5-1 Jazz progression and modes?

Question

I am classically trained and just started looking into jazz theory. I understand that the 2-5-1 progression is a good place to start. My basic understanding is to play the above progression with arpeggios 1-3-5-7 combinations for improvisation. I also understand that 2 "types" of jazz are possible: modal or chord based. My first question is: If I am in C Ionian mode, my progression is Dm, GM, CM or any variations of these basic chords( I guess??) However, if I am in the Dorian mode(or any modes), does it change from D,G,C to E,A,D and so on through the modes? Basically, should I always think of it as 2-5-1 based on the scale, mode... I wish to use? My second is: Can modal and chord based jazzed be "blended", used together for improvisation?

Answer 1

Hey there! Good question. So when you are playing over a 2-5-1 in jazz, there are a couple of ways to look at approaching it. First, let's talk about diatonic keys and arpeggios. When you are playing in a set key, let's say C major, you have 7 possible chords you can build out of the key major scale by stacking thirds.

So, in C major we have the following chords available..

C Major I

D Minor ii

E Minor ii

F Major IV

G Major V

A Minor vi

Bm7b5 vii

A 2-5-1 progression in this key would be D minor, G major, and C major.

A more jazzy approach would obviously be using Dm7 or Dm9, G13 or Gdom7, and resolving to C maj7.

If you were to solo over this progression you'd be limited to using the C major scale and chord arpeggios.

There's nothing really modal occurring in this progression.

Now if you were wanting to approach this modally, you could use C Lydian over the I chord, and C major Ionian for the ii and V chord. This would give a nice variation to your progression.

If you wanted to make it even more interesting we could change the chords being used.

Let's say we have Dm7, Galt, and resolving on Cmaj9 or Cmaj7.

In this situation, you could play D harmonic minor on the D minor 7 chord, G altered scale on the Galt chord, and resolve back to C Ionian on the I chord. That would be a form of modal interchange.

Here's another one to look at. Let's say you have this sort of progression..

Am7, Dm7, G13, Em7, Adom7, Dm7, Galt, Cmaj7

This is a bit trickier, but also a bit more fun to play over.

In this situation, you'd stick with A minor (Cmajor) over the Am7, Dm7, G13, and Em7 chords.

When you reach Adom7 you can play D harmonic minor (A Phrygian dominant) and over the Galt you'd again play the G altered scale.

So the takeaway here is that you can play the key major/minor scale over a progression along with the arpeggios of the chords being used, or you can approach each chord modally diatonically speaking or via modal interchange borrowing chords. Hope this helps! Reach out anyime.

Answer 2

I think that one Major downfall is that you need to understand that Jazz improvisation is not going to be as strict as classical music melody lines. Yes the ii V I progression is very common, but what you do on top of it is where the art comes in. I think you should start at listening to classic jazz.