 Hi everyone, this is Jason here from Nathaniel and in this lesson I'm going to teach you a really groovy rhythm which is based on a Latin feel and we are going to use that rhythm over a 251 chord progression a very very famous jazz chord progression 251 used in a lot of Standards and also used in a few pop songs as well, right? So first let's look at the chord progression 251. We're doing a minor seventh We're doing D dominant seventh and we're ending it with G major seventh a minor seventh is the two minor seventh D dominant seventh is the five and G major seventh is the one major seventh Where does this all come from it came from the G major scale in the G major scale a is the two minor D is the Five major or five dominant and then the one is the major seventh Which is G major and all these chords are played using extended harmony or seventh chord So what you're finding is you won't be playing a triad G B D when it's G major you'll be playing a G major seventh Which is G B D? Plus a major seventh Okay, G B D F sharp Okay, so if we break down the three chords again, you have a minor seventh There'll be a C E G and then the D chord which is D dominant D F sharp a with the higher seventh flat seven for a dominant chord C and then G major 7 GB D F sharp So a minor seventh D dominant G major seventh now to play these chords This may not be a very piano friendly way So we have a voicing version or a voicing technique wherein you could play the root and the fifth in the left hand A E and Then what are the remaining notes of a seventh chord one and five is taken up right? the remaining two notes are the three and the seven which you need to play here and For a major seventh chord the three is major third and the seven is major seventh So for a minor seventh chord it's going to be minor third minor seventh for a dominant seventh chord It's going to be major third and minor seventh and then we also have other chords like a minor seven flat five Which we'll come to okay, so the voicing technique for the left hand Which is very important for this rhythm pattern because there's going to be an element of syncopation between the hands The left hand is going to do its thing the right hand is going to do its thing That's what creates that that groovy vibe Okay, one hand will create a very pulse like motion while the other hand is going to create an interesting pattern So let's look at how to voice all these chords in a very piano friendly and a really harmonically dense sounding way So you take a minor seventh the first chord, which is the two minor seventh Always play one five in the left hand that'll spread out the sound and then in the right hand You have the opportunity of either doing 73 this is a 73 voicing that'll be G and C G and C are not the major seventh and major third They are the minor sevenths because it's a minor seventh chord. So Now you could play that way or else You could play it this way Okay, that's one five three Seven so either seven three or three seven. Okay, so that's your a minor seventh And now how do I go to the D dominant seventh? You need to play the D fifth chord in the left hand one five and then you find a voicing in the right hand Which is convenient either you do the three seven or the seven three depending from where you came So if I'm doing a minor seventh like this D dominant will probably want to be like this Why because it's very close the voices are leading really well and also there's a note in common between the chords, isn't it? There's C which is part of a minor seventh and the same C is part of D dominant seven So why do you want to move this finger or why do you want to change that voice? It sounds nice It'll be smooth for the for the listener. Okay, so a minor seventh D dominant seventh now if I played it the other way You can do a e g c a e g c Okay, or And played higher up to you. It sounds good everywhere pretty much the voicing so a e g c Now where do I go for the D dominant? D a and F sharp C Okay, again, remember what's common between chords C, right? a e g c D a F sharp C Okay, so either we go from a minor seventh to D dominant this way or we go this way Okay Okay, so get used to that shift Okay, and what's the last chord two five one so the one will be a major seventh chord which will be played like this Major seventh in the left hand you can go one five three Seven major. Okay major seventh. So that's G D B F sharp Now why does this voicing work because it's very close to a minor seventh That's your D dominant and just slide the C down and you get G major seventh What happens at the top at the top what you need to notice? F sharp is the same for both the D dominant as Well as the G major seventh So when you're doing a two five one progression Just try to remember that at least one note out of the seven or the three will be common between the chords. So you go C G C F sharp B F sharp. Okay. A minor seventh D dominant seventh G major seventh Okay, the other voicing G C Right, that's a seven three voicing on a minor seventh now You go to a three seven voicing of D dominant seventh and then you go to a Seven three voicing of the major seventh chord It's sort of either going to be seven three voicing or three seven voicing as we call it And whenever I say seven three or three seven It doesn't mean that it is the major third or the major seven it really depends on the chord Right. So a minor seventh chord is going to be root fifth and then the minor seventh and The minor third or else minor third minor seventh The dominant seventh chord is going to be root fifth as always in the base Then you do either the seven flat and major third or else Major third and seven flat and last but not least you do the major seventh chord, which is the root the fifth third And then the seventh or else root fifth seven third So this is a nice way to voice the chords It allows you to play really deep or you can play it higher You can even orchestrate music this way or do like a choral or a vocal arrangement, right? So now that we've learned the two five one progression with proper voicing and all that we now have to put it together With a really groovy Latin rhythm, right? So the Latin rhythms over a 16th note time feel So to count the 16th note time feel what you want to do is say one e and a two e and a three and a four E and a right so each beat is divided into four units one e and a two e and a three so The right hand is going to play a pattern a pattern means it's not going to play everything That's not a pattern. That's rather annoying. So what the right hand will do is play a few beats for example this And the left hand is going to keep things really really simple by playing the pulse So actually let's micro in on the left hand That's all the left hands doing one e and a two e and a one e and a two I'm just going to show you for one chord the a minus seventh Then we are going to put it together for the entire two five one, okay? One e and a two e and a three and a four e and a one e and a two Okay Get this going and count two e and a three and a four e and a one e and a two e, okay? And the right hand now has to play over These hit points Okay, that's one e and a two e and a three e and a four e and Observe that the first few hits. I am playing C and G together while the last three hits. I'm actually Playing them one by one because I don't know just sounds cool. It just adds to the vibe of the pattern, right? So you go one e and a two e and a three e and a four e and a so a four e and a, okay? I'm also snapping the pulse, which is anyway what you're going to do in the left hand, isn't it? So one e and a two e and a three e and a four e and a Okay over the shaker try getting it with me Pa-pa-pa-pa-pa-pa-pa-pa-pa-pa one e and a two e, one e and a two, okay? That's your right hand So now you need to develop the independence of doing that with the pulse in the left hand So there are many ways to practice this one is just try to snap or tap the pulse While you do the right hand so pulse pulse right The other the other thing you could practice could be play the pulse Over the a-minus seventh chord and then vocalize what you're doing in the right hand Sort of like a melody right which I think your brain will start digesting a lot easily Ta-pa-pa-pa-pa-pa-ra-re-ta-pa-pa like a rift Okay, once you are able to sing the right hand with the left hand pulse And then while you're able to tap out the pulse with the right hand chords I think then you can attempt to play them together. Otherwise things get really really chaotic Okay, so it'll be something like this Now you could map it out by writing this meets that at that particular point But to be very honest, it's more about Feeling the pulse while you play a pattern So you should be thinking more of the pattern and let the pulse sort of just be felt by the body Okay, and what you do in the left hand is more an extension of your Natural ability to just go with the pulse or your sort of human clock as we call it so Okay You know if you're finding it difficult to go from a to e you could just stay on a only Doesn't sound great. So eventually it'll be nice to eventually go to e Because this is your entire minus seventh chord. So instead of playing it like that, which is rather boring I'm doing it in this really groovy rhythm So we can do this for all the all the three chords in the two five one, what's the next chord This one D dominant seven. So a D major D dominant seventh rather A minor seventh D dominant seventh and then G major seventh G major seventh usually plays for longer for two bars in the progression. So second bar and The second time you play the G major seventh, you could do something interesting Instead of playing the major seventh You can come down to the major sixth. So it's like G major seventh G major sixth. So that becomes a nice movement. Okay What did I do that I did two going to one which is also cool, but now I'm going to do two five one G major sixth Four flavor If you're a songwriter or a singer and a piano player, I'd highly encourage you to practice this so that you can sing something, you know You might find it a bit tough to sing Expressively so focus on maybe one note for every chord So get your singing chops also going while you play this stuff Okay, finally, you can also play these chords by shifting the chords faster So you can do within a bar you can go a minor seventh D right a minor D G major sixth a minor D G G major sixth But if the shifting is taking some time when you're practicing then it needs to take some time So then give it a bar for every chord Okay, let's now do this super slow and then build it up and that's pretty much the lesson. So let's get this going G major seventh G major sixth A minor seventh play along slow Pulse in the left hand If you're not getting the left hand Just do the right hand right So on and so forth That's the pattern And once you've done this on the G major scale Well, it's a great practice tool to be able to do the two five one on as many scales as possible So I would encourage you to do it on another scale So maybe if you have to do this on F major what will be the two five one? You need to map it down write it down. So that'll be G minor seventh going to C dominant seventh Okay, going to F major seven. So that'll be Same rhythm pattern, right? If you're doing this on C major D minor seventh G dominant and then C major seven It's on and on you need to practice B flat or Maybe on E flat, which is F minor seventh B flat dominant E flat major seventh So you get the idea you need to be able to do this on as many keys as possible it'll really help you find your intervals find your chord voicings and Also play more confidently across a variety of genres of music, right? So this was a lesson. Let's recap We first looked at the two five one chord progression Which is basically two minus seventh five dominant seventh and one major seventh Then we formed it using an incredible piano voicing technique, which is either one five Seven three or one five three Seven and then we voiced all our chords using that shifted very very effortlessly and then we culminated the lesson with a really great groovy rhythm pattern, which is That one Of course, we've learned the majority of the lesson on the G major scale I would encourage you to do it on as many scales as possible great So thanks a ton for watching this lesson and if you haven't already do subscribe to our YouTube channel hit the bell icon for Notifications and do stay tuned for all the other lessons which we are going to do on harmony on rhythm on Production and a lot of other things coming your way very very soon. Cheers