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The 12-bar blues is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
An augmented triad is a chord, made up of two major thirds. The term augmented triad arises from an augmented triad being considered a major chord whose top note (fifth) is raised. When using popular-music symbols, it is indicated by the symbol "+" or "aug". For example, the augmented triad built on A♭, written as A♭+, has pitches A♭-C-E:
In music, a pedal point is a sustained tone, typically in the bass, during which at least one foreign harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance".
Coltrane changes are a harmonic progression variation using substitute chords over common jazz chord progressions. These substitution patterns were first demonstrated by jazz musician John Coltrane on the albums Bags & Trane and Cannonball Adderley Quintet in Chicago. Coltrane continued his explorations on the 1960 album Giant Steps and expanded on the substitution cycle in his compositions "Giant Steps" and "Countdown", the latter of which is a reharmonized version of Eddie Vinson's "Tune Up". The Coltrane changes are a standard advanced harmonic substitution used in jazz improvisation.
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing."
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo. Though examples of the tritone substitution, known in the classical world as an augmented sixth chord, can be found extensively in classical music since the Renaissance period, they were not heard until much later in jazz by musicians such as Dizzy Gillespie and Charlie Parker in the 1940s, as well as Duke Ellington, Art Tatum, Coleman Hawkins, Roy Eldridge and Benny Goodman.
"Giant Steps" is a jazz composition by American saxophonist John Coltrane. It was first recorded in 1959 and released on the 1960 album Giant Steps. The composition features a cyclic chord pattern that has come to be known as Coltrane changes. The composition has become a jazz standard, covered by many artists. Due to its speed and rapid transition through the three keys of B major, G major and E♭ major, Vox described the piece as "the most feared song in jazz" and "one of the most challenging chord progressions to improvise over" in the jazz repertoire.
Jazz harmony is the theory and practice of how chords are used in jazz music. Jazz bears certain similarities to other practices in the tradition of Western harmony, such as many chord progressions, and the incorporation of the major and minor scales as a basis for chordal construction. In jazz, chords are often arranged vertically in major or minor thirds, although stacked fourths are also quite common. Also, jazz music tends to favor certain harmonic progressions and includes the addition of tensions, intervals such as 9ths, 11ths, and 13ths to chords. Additionally, scales unique to style are used as the basis of many harmonic elements found in jazz. Jazz harmony is notable for the use of seventh chords as the basic harmonic unit more often than triads, as in classical music. In the words of Robert Rawlins and Nor Eddine Bahha, "7th chords provide the building blocks of jazz harmony."
Rhythm changes are a common 32-bar chord progression in jazz, originating as the chord progression for George Gershwin's "I Got Rhythm". The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III7–VI7–II7–V7, a progression which is sometimes given passing chords.
Bradford Alexander Mehldau is an American jazz pianist, composer, and arranger.
The ii–V–I progression is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree (supertonic) to the fifth degree (dominant), and finally to the tonic. In a major key, the supertonic triad (ii) is minor, and in a minor key it is diminished. The dominant is, in its normal form, a major triad and commonly a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions, limitless variations exist on this simple formula.
"Naima" is a jazz ballad composed by John Coltrane in 1959 that he named after his then-wife, Juanita Naima Grubbs. Coltrane first recorded it for his 1959 album Giant Steps, and it became one of his first well-known works.
"All the Things You Are" is a song composed by Jerome Kern with lyrics written by Oscar Hammerstein II.
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads".
In music, the seventh factor of a chord is the note or pitch seven scale degrees above the root or tonal center. When the seventh is the bass note, or lowest note, of the expressed chord, the chord is in third inversion.
The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT). Russell's work postulates that all music is based on the tonal gravity of the Lydian mode.
Brad Mehldau Trio Live is a live album by American pianist and composer Brad Mehldau's Trio released on the Nonesuch label in 2008.
When I Fall in Love is an album by the Mehldau & Rossy Trio, consisting of pianist Brad Mehldau, bassist Mario Rossy, and drummer Jorge Rossy.
References
- ↑ "Jazz Standard Repertoire - Countdown". standardrepertoire.com. Retrieved 2022-05-30.
- ↑ "John Coltrane "Countdown" — The Jazzomat Research Project". jazzomat.hfm-weimar.de. Retrieved 2022-05-30.
- 1 2 Coltrane, John (1980). The jazz style of John Coltrane : a musical and historical perspective. Studio 224. OCLC 1043347491.
- ↑ altrockchick (2014-01-08). "John Coltrane – Giant Steps – Classic Music Review". altrockchick. Retrieved 2022-05-30.
- ↑ Nicholson, Stuart (2021-10-11). "How John Coltrane made Giant Steps". Jazzwise. Retrieved 2022-05-30.
- ↑ Planer, Lindsay. "Giant Steps Review". AllMusic. Retrieved 2022-05-30.
- ↑ "Countdown". Learn Jazz Standards. 2014-04-23. Retrieved 2022-05-30.