The 2nd Most Important Music Theory Idea You'll Ever Learn.

[@dsanj4745]

A 2-5-1 progression follows the Circle Of Fifths (as far as root notes go). Each chord resolves the prior chord and is therefore harmonically pleasing. The V-I is the most satisfying movement in Western music and the 2-5-1 progression is essentially two V-I resolutions in series.

[@JohannesHeld]

👍

[@Bubdiddly]

I think i - IV7 is the most satisfying

[@LogicalQ]

Pay the quarter, get on the horse, it goes up and down, and around, circle, circular, all good things… -crazy guy in Happy Gilmore

[@nelsonnicholson6175]

@@Bubdiddly Followed by bVII?

[@dbay9408]

​@@nelsonnicholson6175 You could, it's a very popular progression in Rock and Pop. I IV bVII, i IV bVII. Notice the functionality is the same. The minor one chord simply functions as a ii chord to a V7(IV7) with the bVII being a "root" chord (if you resolve it). In fact, in jazz, we learn to move the whole key through fourths. An example in C major would be. C Major I - F major IV - Bdim vii - E Minor iii - A Minor VI - D Minor ii - G Major V - C Major I. This is called a 1 4 7 3 6 2 5 1 progression. In Bohemian Rhapsody, Notice it's actually a 6 2 5 1 (After the first bar) Am - Dm - GM - CM. You can put 2 5 1s and 5 1s anywhere.... literally anywhere. Then when you introduce super imposition you scratch your head and think "are there actually any notes I can't play in a key" ??? Then examine it from the functionality of sub-dominantes / dominantes / tonics etc.... IV and ii are subdominant - II V I can be IV V I V and VII are dominant - II V I could be - II VII I or - IV VII I III and VI are usually leading into a subdominant or used to extended to stability of the Tonic chords (I chord) so are called pre-dominant or mediant- III II V I or VI II V I take the most famous western chord progression in pop! I VI IV V - 1 6 4 5 TONIC - Predominant (mediant) - SUBdominat - Dominant - and then back to the TONIC. It may not seem to move circularly, but it does. By changing the quality of a chord ( 7, maj7, min7, min7b5, diminished etc) you can introduce circular and linear movement to your progressions regardless of the key you are in (within reason!). Like, take an I - II diminished - II - progression. We could play C major then C#dim then D minor. That's basically a: I (1) followed by a vii of II to the II. But diminished chords function as dominants so it's basically a I of the key followed by a V I or the subdominant. You could then resolve this to the V of the key (original I chord) or keep going up ! D# dim to E minor ! another VII (V) - I of the mediant chord (III chord)! These are usually referred to as secondary chords like secondary dominant. So a i - IV7 is a secondary dominant, it could easily go to the V7 and then back to the i or yes it could go the bVII ! or even bVII7 and then on to the bIII or back to i. The possibilities are endless!

[@MangoldProject]

Extra points for anyone who spots the cat cameo! :) (Edit: I had to reupload the video with a few minor corrections before the premier. My apologies to those who have had their comments deleted.)

[@juanuribe8876]

14:30 haha! i claim my points

[@MangoldProject]

@@juanuribe8876 I'll write it down. Prizes will be handed out in 2098 :)

[@juanuribe8876]

@@MangoldProject I'll be patient 🙏

[@CallMeSmigl]

Casually and flawlessly explaining the whole concept of scale degrees and major chord progressions as a sidenote is something that other youtubers make five videos with clickbait titles about. Awesome channel!

[@ardiris2715]

I believe you just taught 80% of Billy Joel's entire recorded library. (:

[@MangoldProject]

Don't tell him that :)

[@calokid]

In classical music education, the idea is really about the harmonic rhythm of moving from subdominant (not always II) to dominant, then to tonic. "2-5-1" is an example of this movement, but outside of classical we'd just think of variations on that as substitutions to the chords. You can also do this kind of movement on a formal level... Like your song can have a section in the key or mode of I, then another in the key or mode of II (subdominant), then another in section in V, then end in the section in I again. Taking it further, in classical music, the movements of a piece can also relate to one another like this. Have fun!

[@gabrielt1682]

Can you please describe with an example in C(or any other key) respected Sir, I think I’m getting it but I don’t clearly get it. Just a humble request. Thank you.

[@calokid]

@@gabrielt1682 In C, you can go to sub dominant (F (IV) or d (ii)), and then to the dominant, (G7, V).

[@gabrielt1682]

@@calokid Thank you for taking time to reply Sir. Now I got it.

[@owen_bell916]

The idea definitely needs a comeback! I absolutely adore the spicy motion it gives progressions. These videos are always increadibly entertaining and useful, Thank you and keep up the amazing work!

[@cicik57]

do not forget that that 2 is half- diminished and not simple m7 like here in video for: moll base and in specific resolutions to major base ( "pretending" 2-5 to minor but resolve to major or minor 4 as a dominant, kinds of these )

[@waxhead63]

No matter how much older I become I find there is always something to learn and this is particularly so with music ... very well explained and demonstrated without any BS ...🙏🙏

[@rufogongora]

both videos have been awesome, I had already learned bout 2-5-1 but putting it together with last video about the subdominants it now makes sense, I would love to learn about building complex chords with extensions like you are on the jazz section!

[@flowerpt]

Very clear. Thank you.

[@Andreas_Straub]

Thank You - VERY helpful!

[@reineh3477]

I never thought about it until you mention it, but this 2-5-1 is everywhere. If I would listen to my old CDs I would find it in a lot of songs. I might call the progression "taking of my shoes" when trying to find it in different songs.

[@RockNRoll__]

💯%

[@tronlady1]

Taking off my shoes???? 🤷🏻‍♀️🤔

[@reineh3477]

@@tronlady1 yes. Taking of your shoes feels great.

[@almscurium]

Legendary

[@norakat]

That’s because it’s the basis of a lot of Jazz / Soul music

[@lawrencetaylor4101]

Merci beaucoup. I've learned to use 2-5-1 but this was the best practical description of why it is used Music theory can be daunting, but this was so smoothly presented that I didn't have a migraine. LOL

[@Medvedev_Dmitriy]

Learning about the secondary dominant. This are they!

[@MangoldProject]

I'll take credit for being "the best PRACTICAL description"!

[@DG-rd8zh]

“Merci merci merci” - 🤓

[@3l84r70]

You sir have a great way of teaching. Thank you for sharing this knowledge, and doing so in such a clear and easy to follow video

[@AmeeliaK]

MangoldProject: "don't overdo it" Jerome Kern, writing "All the things you are": "too late"

[@Dave-nm8uk]

Very good reminder of ideas which I thought I knew. Showing how the methods work with different scales is also something which is easy to miss the first few times around.

[@skrijgsman]

I wish somebody had taught me tonicization before teaching the 2-5-1. It makes so much more sense to lead into the concept this way.

[@jinsongeo]

Great Series on Mystery Chord progressions

[@Roj0307]

Just a minor point - at 4:30 : For common tonal music, the "2" chord should be b-diminished rather than b-minor. B-minor is foreign to A minor. Using B-minor chord makes the sequence want to resolve to A major. (Of-course, the chromatic effect of using B-minor instead or B-dim can be used deliberately - as with the Beatles example. ) EDIT - oops I realised you covered this later at 16:30 sorry

[@3D1ofakind]

This type of engagement is great for learning, I found myself thinking the same thing until he covered it

[@hannanathan564]

Yea same.. however, not b-dim. Should’ve been a half dim or min7b5 Yup, he already made that distinction lol.

[@rosiefay7283]

Depends. Perhaps the tune goes f# g# a, using the upward melodic Am scale. Then Bm would suit the f#.

[@hannanathan564]

@@rosiefay7283 hmm, I’m not doubting you, I just don’t think I’m following your description very well. Could you expound? F# G# A in A melodic minor is not a minor 2-5-1, so that’s where my confusion is. I’m interested in understanding what you’re saying though!

[@moo639]

@@hannanathan564 F# G# A refers to a melodic minor melody. In which case the chords can be B minor, E dominant, A minor.

[@PeterHawkins-iz3od]

You, Sir, are a naturally illuminating person I believe, and this has helped your teaching approach to be very enjoyable, both for me, and I am sure for very many others, for a long time now. Thank you so much. Peter.

[@BBQDad463]

Thank you for this great idea. Subscribed.

[@bapidas423]

You are the best teacher i have ever seen on youtube. Salute from india.

[@estherappiah7343]

Thank you so much for the way you explain the theory behind the formation of the chords you play. It makes the playing very clear with understanding to me. I'm really ❤grateful

[@stevenmqcueen7576]

Glad you changed the description of the lead-in chord from your previous video on the topic, where you unconventionally characterized it as being a fourth below the target chord instead of as being a fifth above.

[@alnitaka]

You show us the 2-5-1, which can be written 2-5-1-1, since you repeat the 1 chord for another beat. My favorite is a variation of this, namely 2-5-1-6, with some examples Dancing in the Moonlight, Stumblin In, and Primadonna.

[@robertrussell9336]

Brilliant. Thank you.

[@DCPImages]

Such a great teacher!

[@madovermusic459]

PLEASE soon UPLOAD VIDEO ON:- all the scales. How to play and practice running pieces on them ...what will be the fingering technique.

[@paulking2919]

Fantastic teaching! So clear and accessible.

[@TheAtheistworld]

So in the end it can be called as: tonicization of a chord with a secondary supertonic+secondary dominant. Right? Super lessons, bro!!

[@norakat]

I think a valuable thing taught here is that it teaches you to think out of the mode of just using the chords in the original scale/key you started on. So in example 2 when you go to a E7 and want to play a melody over it during that duration, what key or scale do you imagine yourself in?

[@lucianobuccero]

I learned this a long time ago - but I never understood it that well! Thanx!

[@ustadspencertracy7195]

Can you make a video about how to harmonize a complex melody? Like Bach Ricercar or Lush Life.

[@NekromanKim]

Love your videos! Could you please make a video with a breakdown of Don't Speak by No Doubt? It's a great song, seems simple, but when you start digging, it is quite complex

[@GillisGil]

Would you do a lesson on the song "ALONE AGAIN NATURALLY" by Gilbert O'sullivan. Very unusual chord progression. Thanks.

[@burledavey8198]

Thanks heaps for your videos,pls keep doing what you do. I am just an average guitar player but the leading in chords sound so good. More on chord progressions would be appreciated. Thank you in advance. (Melbourne,Australia)

[@_da-baker_]

2:24 If you set your playback speed to 0.5, it sounds exactly like Nellie by Dr. Dog

[@metaspherz]

Thank you for your very helpful instructions! Cheers!

[@newandreview]

Writing music has now become simple. Thank you.

[@gabrielt1682]

Thank you Sir, it helps a lot. Needed this.

[@praveenbalaratnam5087]

Both videos are very useful. Very much simplified thank you

[@maloneycraig]

Thanks! I remember a video you posted some time back where people were giving you grief in the comments for making your two chord a minor 7 instead of half diminished in your “minor two five one”. I guess you could call this a response to that.

[@thatman3107]

I have a question in example 1. Shouldn't it be Bdim instead of Bmin, because F# isn't a part of Amin or Cmaj? If not, then could you please explain why? Edit: okay, I think I got my answer lol. I'm used to the harmonic minor for harmonies, so I was a little confused.

[@robertgumpi7235]

Hi all. Study „Fly Me to the Moon“ for wonderful multiple 2-5-1 progressions.

[@bigdambluesband6295]

mystery chord is B sharp diminished minor seventh

[@CC-oz1ib]

Thank you very much for sharing👍👍

[@CStoph1979]

After watching this video, its fun to note how quickly I recognize this turn around now in songs. Had no idea it was used so often outside of jazz. Pink Floyd - Brain Damage G A C G chorus Bm Em A D - 6251 Turnaround back to verse

[@MangoldProject]

Yep. You cannot unsee it!

[@Yorb.]

The whole Dark Side of the Moon album is full of 2-5 stuff

[@johnnyxmusic]

Totally caught those Floyd feels…

[@TheAtheistworld]

Super lessons, mate. Could u do a lesson about secondary lV subdominants?? There’s so little info about that around....everybody talks about sec dom, not sec subdom.. thnx❤

[@ArunIyer]

Excellent lesson good sir! Subbed. ❤

[@byrondcarroll]

Thank you man, I cut my teeth on gospel and this put rules behind what I thought was happenstance or preference.

[@lauraroberts2250]

Thank you. That was very informative.

[@BlackHawkmw3]

Awesome video. Mangol can you make a tutorial on how to use strings in the background as u did it in one of ur videos in fl studio?

[@loggert]

Great video, I just think you should change the E7 to include G# instead of Ab that way it's more theoretically correct. :)

[@3D1ofakind]

I'm glad I'm not the only one, once you become familiar with chords it'll mildly infuriate you!

[@loggert]

@@3D1ofakind Yeah, I just can't unsee it :D

[@hsl49scorpion73]

The cat at 15:30. 😂

[@mrlee6740]

Your lessons are priceless

[@71sephiroth]

At 12:31 Mind explaining a bit how you created from C to Dm to Em etc. ? What is the "rule"? If you have a video pointing this out please do send a link! Thanks!

[@purushothamd9272]

I like your demonstration,interesting

[@jayagopi1]

Once again thanks a lot for sharing this wonderful video. Can't wait to see your next one🙏😊

[@jayagopi1]

Never used the telegram app before. Will install and try. 😊

[@opp0site]

really well illustrated example thanks for the lesson!

[@BestBassTabs]

AWESOME video!!! Thanks 🙏

[@60beats44]

What generous person you are, Assaf. Having watched a number of your instructional videos, I am close to purchasing a 'table top' electric keyboard. Still not sure what to choose and I am wondering if you could suggest something of quality? Thank you so much once again, you seem to be an inspiration to so many.

[@DOC2089]

Omg I’ve been talking about this theory for years and how todays rnb and hip hop and some pop have adapted the “Just the two of us” progression.

[@eclipticom]

Fantastic lesson again. Thanks a lot for sharing it!

[@mangotheclown6030]

I'm a bit confused. Often the 2 and 5 chords aren't in key with the rest of the piece. Is that intentional, or am i doing something wrong? For example in your simple progression the Bm contains f# which isn't in the (assumed) key of Cmaj.

[@MangoldProject]

This is by design and very intentional. A 251 effectively momentarily modulates to the key of the "1".

[@jeremysaldana1861]

for the jazz exemple, aren't you using a E7 9 b5 ?

[@Transterra55]

Outstanding lesson....thanks!

[@dcp8nts]

Around the 15 minute area, the chords are not in sync with the visual. Anyway, yes, ii V 1s are great

[@MangoldProject]

Damn, every time I think I've gone over the video and everything looks good, something ends up being messed up nevertheless ... and KZbin doesn't let me upload corrections.

[@dcp8nts]

@@MangoldProject It's all good. And it didn't last for long. I love your videos. =)

[@PianoMatronNeeNee]

2-5-1 progression? (I saw a video you did from 5 years ago.)

[@PianoMatronNeeNee]

Hello Assaf! If you visit Palm Beach/ Miami area, I’d love to take a piano lesson from you and ask you to kindly, “coach” me on my songs. I’ve never had a lesson, I’d love yours to be my first. Winter is coming and the weather here is perfect🌴

[@rudrakpatra6579]

For me the root does not feel like home. in the example , 3:20 ; F does not feel like root to me

[@SuperRingoffire1]

Beautiful lesson 👌☮

[@AbeTheGamer22]

Hi assaf aka mangold project hey man I just wanted to say that you’re videos inspire me so much when it comes to me playing the piano so anyways what I’m trying to say is that my piano habits & techniques are Not quite impressive because I always & I mean I always just play chord progressions all the time because I’ve been playing piano for 15 years & I’ve never played anything that was too hard just because I might get stage fright so I kinda need some advice on how to get away with just playing chords & pretty much chord progressions & trying to have hand independences & basically sound more impressive.

[@MangoldProject]

There's no way around it: You have to get over your fear of failing and start challenging yourself.

[@robshrock-shirakbari1862]

Great lesson… what piano sound are you using for this lesson?

[@tronlady1]

MAN that’s GOLD ❤

[@carlgrainger2669]

👍🏻 not too shabby at all!

[@lucsteveessoe5283]

Before I even played the video: *In my head* C-> Bm7b5-> E7-> Am7 Man, I can't help it. that m7b5..

[@rutheproppi6265]

Maestro: thank you for the "privilege" of your time. Your genius for music is only surpassed by your teaching method; straightforward to the point. This video has shed light on the concept even though, I will never me at your level. I am also writing in regards to the Time Set in the Video 4:49 when you begin to play the progression, the previous section where you demonstrate the actual chords you are playing I understand, however, when you start to play the progression I am not able to follow the notes. Would it be possible and/or do you have a chart that has the notes in this progression in the Treble and Bass Staff. I am not asking for a "fribie" but if you have written this cadence and the ones that follow I am willing to pay for them. Either way, will you please squeeze some time in your busy schedule and give me an answer. Even just that cadence that starts at 4:49 would be fine. Again please do not stop doing what you are doing. Looking forward to hearing from you. Ciao, R

[@brandonroberts13]

Yesterday plays a 4-5 (F-G played in C) not a 2-5 after the 6 chord. But I guess it's similar enough.

[@MangoldProject]

You're correct. I've told a little white lie. It's not too bad given that D minor is the relative minor of F major (and both F and Dm fulfill a subdominant role).

[@rehkram]

@@MangoldProject Carole King's You've Got a Friend is also a good fit for the chord melody.

[@karlrovey]

You can use IV in place of ii. Similarly, you can use vii diminished in place of V (though vii7 diminished can go anywhere).

[@cesarleonardo7059]

Profesor, una pregunta: los acordes dim de éstas escalas , si le agregara la séptima ( 7 ) sería 7 o 7 b ? Gracias.

[@jlahir]

It will be the flat 7 (7b)

[@cesarleonardo7059]

@@jlahir Maybe 7 bb

[@ryan-heath]

A 7th chord is always flat. C7 is equal to C E G Bb Dim7 would flatten all the notes except the root. C Eb Gb Bbb so flat 7

[@MarPabl]

Thanks for explaining so clearly. I’d just want to know if there’s a reason to choose the major, melodic or harmonic scale (to build de 2) based on the key scale of the song or something else 🤔 And also, considering the key scale of the song, if we can always apply this no matter the degree of the chord. For example if my bar is in C and I have C, Em, Dm, G7 can I apply this to the Em, Dm or any chord I wish? Or should I stick with fixed degrees like only for the 6th (Am) or the 5th (G7)

[@MangoldProject]

1. Minor targets almost always use the melodic or harmonic minor, depending on your taste. 2. Major targets almost always use the major scale. 3. You can do this with ANY target chord in your song. And you can do this with the target chords of the target chords and string together 2-5s ad infinitum :)

[@MarPabl]

@@MangoldProject Thanks for clarifying 😁

[@johnhancock8463]

Thank you

[@saquermangames6120]

So informative, thanks a lot!

[@cechichan]

Is there a software to show the notes of the midi keyboard like u use here? id love to use it. As a guitar player, i use piano rarely but would help with certain stuff, like theory for example ;D

[@jungjanos3118]

Clear. Subscribed.

[@MangoldProject]

Welcome aboard!

[@abdullahshahzad333]

Yayyy its 2-5-1. I was right🥰. Brilliant video as always. Lots of new stuff to learn.

[@RobertJones-et7gh]

Excellent!!! Thanks!!!

[@MangoldProject]

Glad you liked it!

[@whoisthecoppacnk]

Please, please do chord extensions and additions…please

[@jayantjrathod]

Thank You So Much Sirjee

[@sharonvanvollenhoven3008]

Thank you so much ,i play keyboard in church and want to know : can i apply 2-5-1 even if i play 1-5-6-4 sequence

[@MangoldProject]

Yes. For example, C, G, Am, F can turn into C G Bm7 E7 Am Gm7 C7 F

[@broncheemims8493]

Thanks you for the in site.

[@tronlady1]

14:58…..here’s a simple jazz progression 🤯🤯🤯

[@buti]

thank you so much!

[@2010securityful]

where is documents for mangoldproject?

[@rojal2269]

Where are you assaf.. 😥 You haven't posted any vedios for a month...

[@gbormann71]

Is this an example of a cadence?

[@fraso2000]

Thank you very much!!

[@YEM_]

Why two semi tones and not one step in the scale? In C major, if your target is e minor, two semi tones gets you F sharp which is not in key.

[@MangoldProject]

Not in C, but ... i's in the harmonic or melodic minor of E!!!

[@jmusick848]

sweet, what's the 3rd?

[@rojal2269]

Brwh.... Where r u... 😢 No vedios for a long time...

[@waxhead63]

Interesting that example 4 progression is Still got the blues AKA Gary Moore ... music is just a numbers game

[@Yupppi]

What if the starting and the ending chords don't share the key?

[@p.as.in.pterodactyl1024]

For the most part, you're going to be okay so long as you have the ending chord be the reference point. That is, you'll typically want to borrow from the parent scale of the ending chord, not the starting chord, when they're disparate. Perhaps "target chord" would be more fitting than "ending chord" since it doesn't necessarily have to be the last chord, but it's still treated as a sort of destination.