Play (help·info)In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. [1]
The turnaround may lead back to this section either harmonically, as a chord progression, or melodically.
Play (help·info).
Play (help·info)Typical turnarounds in jazz include:
Turnarounds typically begin with the tonic (I) (or a tonic substitute such as iii) and end on the dominant (V7), the next section starting on the tonic (I). They may also end on ♭II7 (which is a dominant substitute). [6] Thus when used in a twelve bar blues pattern, the twelfth bar may end on the dominant. [1] All of the chords in a turnaround may be seventh chords, typically dominant seventh chords for major chords and minor seventh chords for minor chords (e.g., ii7).
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m7, m6, m♭6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii. Take the example in C major: C–A–Dm–G(7). The third of the VI chord (in this case, C♯) allows for chromatic movement from C (the root of I) to C♯ (the third of VI) to D (the root of ii).
Similar chromaticism and harmonic interest can be achieved by the use of a secondary dominant of V, for example V7/V–V7–I (that is, II7–V7–I), instead of ii–V–I. Another popular turnaround which may be considered as a secondary dominant analysis is ii–♭V/V–I (i.e. ii–♭II–I), which is a variation on the standard ii–V–I turnaround. In jazz parlance, use of the ♭II instead of the V is known as tritone substitution. Using ♭V/V instead of V allows for a smooth chromatic descent. Again, let us examine C major; the original turnaround would be Dm–G(7)–C, while the modified would be Dm–D♭–C . The obvious chromatic movement is thorough; it is apparent in the roots (D–D♭–C), thirds (F–F–E; F is often used as a pedal tone), and fifths (A–A♭–G).
While in that particular example the ♭V/V can be considered a Neapolitan chord, the more typical functional analysis in the context of the jazz idiom is that it is not a secondary dominant (♭V7/V) but ♭II7, a substitute dominant (tritone substitution). Harmonically, ♭II7 functions exactly as V7/I does, because the two chords enharmonically contain the same tritone, which is the critical harmonic element in the resolution from dominant to tonic. The half step downward motion of the roots of those chords, as seen in ii–♭II7–I, forms the familiar line cliché, arriving satisfyingly at the tonic.
Secondary dominant refers to the functional dominant of the key's dominant or another non-tonic chord, while substitute dominant refers to an alternative functional dominant of the key's tonic. The extending of dominants to secondaries (or beyond) is a practice which remains firmly inside the circle of fifths, while the substitution of dominants replaces that cycle with one of minor-second intervals.
I–vi–ii–V may be transformed through various chord substitutions. For example, the vi and ii chords may be substituted with dominant chords, giving I–VI7–II7–V or C–A7–D7–G, [7] the ragtime progression. The tritone substitution may be applied to the vi and V chords, giving C–E♭7–D7–D♭7, or to every chord but the I, giving C–E♭7–A♭M7–D♭7. [8]
In music theory, a leading-tone is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, the leading tone refers to the seventh scale degree of a major scale, a major seventh above the tonic. In the movable do solfège system, the leading-tone is sung as ti.
An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord."
In a musical composition, a chord progression or harmonic progression is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of Western popular music styles, traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords, or sequences of chord tones, may also be considered as chords in the right musical context.
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 mowtown era. 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.
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization.
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F:
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.
The ragtime progression is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older. Also typical of parlour music, its use originated in classical music and later spread to American folk music. Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":
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.
In music, the axis system is a system of analysis originating in the work of Ernő Lendvai, which he developed in his analysis of the music of Béla Bartók.
In music theory, the half-diminished seventh chord is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh. For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or Cø7, has pitches C–E♭–G♭–B♭:
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.
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 vi–ii–V–I progression is a chord progression. A vi–ii–V–I progression in C major is shown below.
In music, a passing chord is a chord that connects, or passes between, the notes of two diatonic chords. "Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor third in order to create more movement." "'Inbetween chords' that help you get from one chord to another are called passing chords."
In music, an approach chord is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression:
|G / Em / |Am / D7 / ||
The jazz minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale.