>> In this lesson,
we're going to work with the 16251 progression,
a very common progression that has
utilized extensively the numbers
I VI II V of course referred to
the roman numeral placement of
the chords within a major key.
So speaking of the key of
C major the C would be one, of course,
an A minor 7 would be
the diatonic chord built on the sixth scale degree.
D minor 7 would be
the diatonic chord built on the second scale degree.
The G7 we've seen before,
the 57 on 5 and the C major 7 of course is 1.
So what I've done here is to first of all
write out the chords of voice led as basic form,
meaning no tensions added.
So the C major 7 is a core made up of C,
E, G, and B, obviously.
And so I have that chord here
and then I have voiced led,
the C major 7 to the A minor 7.
And we actually have three common tones
in order to voice lead from
this C major 7 to the A minor 7.
The G is common,
the E is common and the C is common,
so that makes the voice leading very simple.
In voice leading, the A minor 7 to the D minor 7.
I have two common tones,
the A is a common tone and the C is a common tone.
And then in voice leading,
the D minor 7 to the G7,
we once again have two common tones,
the F and the D are both in common between the chords.
And then in moving from the G7 to
the C major 7, once again,
a common tone on G and a common tone on B,
so that the voice leading of
these basic chords built on I VI II V and
I would look very much like this through the voice led
form using the basic notes only.
And then, as we prepare to look at drop two,
we want to be adding the tension notes,
similar to what we did with the II V I.
The ninth of the chord on
the C major 7 would be the use of
the node D in place of the node C. On the A minor 7,
the ninth would be the use of
the node B in the place of the node A.
And the D minor 7 with the use of the ninth,
which would be the node E in place of a node D.
And then the G dominant seventh
would utilize two tangents.
The ninth of the chord would be the node A,
and the 13th of the chord would
be the node E. Then of course,
the voice leading into the C major
which is D instead of the node C. So here we have
the voice leading of the same four chord C I VI II and V,
but with the addition of tensions,
the one thing to take note of is
that the voice leading is really
not affected in any way
because of the use of the tension nodes that is,
the basic chord tones are still present,
especially the third seventh of the chord.
And those nodes are the one that
primarily affect the voice leading.
With the use of tension nodes,
we still do have the same essential voice leading as we
had over here where we were not using any tensions,
we're going to drop the second voice one octave,
which would mean that this G,
which is the second voice of the C major 7,
would now go to this G,
the A minor 7.
The second voice is once again a G,
which would be one octave lower here on the D minor 7,
the F is the second voice,
which would go there in one octave lower.
And on the G7,
the F is the second voice,
which would be one octave
lower on this F. And then of course,
on the C major 7,
the node E is the dropped voice.
So now we have dropped
two voicings of the same four chords,
I VI II V and I in drop two position,
which is our open position.
So we have our first contact here
with the I VI II V I progression,
which we're going to work with in
this lesson in a variety of keys.
We're also going to work with
voice leading of the basic chords.
Ever going to work,
but the basic voice leading of
chords with the addition of tension use.
So we're ready to move on to Lesson 3 and working
further with the I VI II V I progression.