Nexus by 5th Down

Last time I introduced the smooth 2^▲2_▼ nexus. We have 3rd and 5th left to explain and I’m gonna explain 5th first, for it is more crucial in constructing popular music.

1. Significance of 5th Nexus

The 5th progression can be considered the most vital within the network of chord progressions. This is because it is always 5th intervals that appears in the relationship between the major tonic (I) and its companions (IV and V), as well as between the minor tonic (VI_m) and its companions (II_m and III_m).

The bridge connecting the “leaders” and their “companions” is consistently a 5th interval, which is why the 5th nexus is considered as the most essential one among all chord progressions. The only 5th nexus that doesn’t fit this “leader-companion” relationship is II_m⇄V, by the way.

2. Features of 5th Nexus

First, as a general characteristic of 5th nexus, regardless of up or down, it’s important to note that the movement of the root is by a largest leap, which gives it a powerful and strong sense of propulsion¹.
Additionally, looking at the change in chord tones, two tones out of three are changed. While not as colorful as the 2nd nexus (in which all chord tones change), it still possesses an ample change for harmonic color.

In contrast to 2nd nexus creating gentle feel, the 5th nexus are powerful and excel in creating dramatic developments. Having this fundamental understanding can make it easier to differentiate their usage in practical applications.

3. Characteristics of 5th Down Nexus

In the previous article I explained both 2^▲ and 2_▼ at a time. But this time there’s so much to explain about 5th nexus so I’ll split the topics into separate articles. In this session, we’ll delve into the 5th DOWN nexus, denoted as 5_▼.

The 5_▼ nexus has long been regarded as one of the most fundamental progressions in the worlds of both classical and jazz music. As you can see, there’s not a single progression that was “once prohibited”.

From a functional perspective, the 5_▼ progression naturally follows the T–S–D–T cycle, making it very pleasing to the ear. Each of these progressions has a familiar sound and can be used without hesitation in any style of music. That’s why we’re introducing the 5_▼ nexus before the 5^▲. Let’s now take a look at several chord progressions utilizing the 5_▼.

2-5-1

In jazz, the 2-5 or 2-5-1 progression is soooo commonly used that they are referred to as Two-Five and Two-Five-One, respectively. Yeah they’re just numbers but these two are like “idioms” in jazz and have an exceptional status.

The prograding cycle of S–D–T, combined with the power of strong 5_▼, creates a very satisfying feel to ears. Listen to example songs.

Songs like “Sunday Morning,” “Say So” and “Come and Get Your Love” use the 2-5-1 progression consistently throughout the entire song, which have a bright and lively quality. “Pride” takes a slightly different approach by using a quality-changed II instead of the normal II_m.

Make Variations

Chord progressions often form a group of four chords. As the 2-5-1 consists of only three chords, it’s very handy to make variations by choosing what to place as the fourth chord. Let’s analyze some of the examples…

Other than those, III_m or III is a common candidate. Or you can easily change II_m to IV or I to VI_m, as they are in “intimate” relationship. Changing between major and minor chords can bring about a substantial change in harmonic colors.

ii-V-I in Jazz

Let me introduce the characteristic use of the 2-5-1 progression in jazz, just for your reference.

Here is a video of the accompaniment of the impro part of the jazz tune “Tune Up”. Jazz players often use such audio resources for practicing improvisation. Now, the chord notation may seem a bit tricky as it uses “seventh chords”, which you haven’t learned yet. But for now, let’s overlook that and look at the simplified chord names for the first 12 bars, which are as follows.

E_mADD_mGCC_mFBG_m

Many chords are used here, but what’s actually happening is quite simple; in fact, it’s consecutive 2-5-1 progressions in three different keys. Initially, it’s a 2-5-1 in the key of D, followed by a 2-5-1 in the key of C, and finally, a 2-5-1-6 in the key of B♭.
It’s like the songwriter loves 2-5-1 so much taht they wants to loop it infinitely, but to avoid monotony, they utilized modulation… that sort of feeling. With an improvised solo over this, the finished piece sounds like this:

It may sound incredibly complex, but that’s mainly due to frequent modulations and embellishments added to each chord with “sevenths” and “tensions”. When you look at it in terms of its fundamental structure, most of it is actually based on the 2-5-1 progression. This technique of chaining 2-5 or 2-5-1 with frequent modulations is commonly seen in jazz pieces, becoming one of the defining characteristics of jazz.

6-2-5-1

If you want to start with tonic functioning chord, putting VI_m at the start will make 6-2-5-1.

The 6-2-5-1 progression is a very strong chord progression with three consecutive instances of 5_▼. Due to its powerful propulsive force, it creates a lively impression. Interestingly, despite containing two minor chords, it doesn’t sound particularly dark or sad. Rather, it has a sense of going ahead.

Some use the progression in the main loop phrases, whereas others use it just in the chorus. “Daughters” is an intersting case where II_m is converted to II, making the progression a bit brighter.

Although these songs may have a bit of dark taste, they also convey a sense of strength and drive. When you want to stay in a minor key but avoid a gloomy atmosphere or when you aim to evoke emotions that are somewhat dark yet carry a sense of hope, this type of progression becomes a candidate for use.

4. Mixing with Other Nexuses

5_▼ is a really basic nexus and can be used anywhere. And they are all the way strong…for better or worse. So by combining it with other nexuses you can expand the range of expressions.

and reliable connection that can be used almost anywhere. Its clarity and crispness, for better or worse, make it a versatile choice. , you can expand the expressive range of your chord progressions.

6-4-5-1 Progression

For example, let’s take the “6-2-5-1” progression and change II_m to IV, creating “6-4-5-1.” This is a common variation. These two chords have a high level of “intimacy,” so they are switchable in most situations.

As a result, we have a balanced chord progression where all degrees (2nd, 3rd, and 5th) appears. While it may lose the beauty of repeating the same step, instead, you can enjoy a variety of nexuses.

With two of the 5_▼ nexuses are exchanged to 3_▼ and 2^▲, the impression of the whole progression is much softened. Also, it’s easy to arrange the last chord, I, to something elese like III_m, III or VI_m. It is a common strategy that you start with 6-4-5-1 then change to 6-4-5-3 the next.

2-5-3-6

Using 2-5-1-6 as a base, changing I to III_m results in 2-5-3-6 progression.

III_m has an ambiguous tonal function and is not as stable as the tonic chord I, keeping the music ceaselessly running forward like a highway without traffic lights, suitable for merry disco tunes or uptempo rock songs.

4-5-3-6 (The Royal Road)

Furthermore, let’s again exchange II_m to IV and you’ll get a softer progression, 4-5-3-6.

Like 6-4-5-1, this progression uses the nexus of 2nd, 3rd and 5th, one each. This progression is exceptionally frequently used in Japanese pops, hence called the “royal road progression” in Japan.

The combination like 4-5-3-6-2-5-1 is also often used, as seen in “I Should Be So Lucky”. Or The Weeknd connects 4-5-3-6 and 2-5-3-6. So 5_▼ is a fundamental nexus in popular music, yet the progressions are often customized by substituting chords, creating subtly different impressions.

You’re gradually understanding the patterns of chord progression transformations and their generation mechanisms. When replacing chords, it’s essential to pay attention not only to the individual chords but also to how the connections with the preceding and following chords, especially the movement of the roots, are changed.

Summary

• 5_▼ has a sense of strong propulsion, as it progrades the TDS function orbit with a large root motion.
• If a 5_▼ nexus seems too strong in a situation, it’s a good idea to balance it by replacing chords.

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