It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion.[2] For instance, in C major, the chords are Am–Dm–G–C, which have roots that descend by perfect fifth (or ascend by fourth), as shown below.[3]
I−vi−ii−V is one of the most common chord progressions in jazz.[5] The progression is often used[6] as a turnaround, occurring as the last two bars of a chorus or section.[7] The I−vi−ii−V chord progression occurs as a two-bar pattern in the A section of the rhythm changes,[8] the progression based on George Gershwin's "I Got Rhythm". It can be varied as well: according to Mark Levine, "[t]oday's players usually play a dominant 7th chord rather than a minor 7th chord as the VI chord in a I-VI-II-V."[5]
The circle progression is commonly a succession through all seven diatonic chords of a diatonic scale by fifths, including one progression by diminished fifth, (in C: between F and B) and one diminished chord (in C major, Bo), returning to the tonic at the end. A full circle of fifths progression in C major is shown below.
Shorter progressions may be derived from this by selecting certain specific chords from the progression through all seven diatonic chords.[2] The ii–V–I turnaround lies at the end of the circle progression, as does the vi–ii–V–I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.[3]
In a minor key, the progression is i–iv–VII–III–VI–ii°–V–i.
↑ Andrews, William G; Sclater, Molly (2000). Materials of Western Music Part 1, p.226. ISBN1-55122-034-2.
1 2 Bruce Benward and Marilyn Nadine Saker, Music In Theory and Practice, seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN978-0-07-294262-0.
1 2 3 William G Andrews and Molly Sclater (2000). Materials of Western Music Part 1, p.227. ISBN1-55122-034-2.
↑ Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker, p.26 (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers). Trans. John Rothgeb. ISBN0-582-28227-6.
The major scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note.
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 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.
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths.. If C is chosen as a starting point, the sequence is: C, G, D, A, E, B, F♯, C♯, A♭, E♭, B♭, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another. It is usually illustrated in the form of a circle.
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 Western musical theory, a cadence is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.
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, the submediant is the sixth degree of a diatonic scale. The submediant is named thus because it is halfway between the tonic and the subdominant or because its position below the tonic is symmetrical to that of the mediant above.
In music, function is a term used to denote the relationship of a chord or a scale degree to a tonal centre. Two main theories of tonal functions exist today:
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.
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."
In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E–A–D–G–B–E' ; in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). Standard tuning requires four chord-shapes for the major triads.
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":
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."
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.
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 theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals. In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent the chord whose root note is that scale degree. For instance, III denotes either the third scale degree or, more commonly, the chord built on it. Typically, uppercase Roman numerals are used to represent major chords, while lowercase Roman numerals are used to represent minor chords. However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.
In jazz, a constant structure is a chord progression consisting of three or more chords of the same type or quality. Popularized by pianists Bill Evans and Herbie Hancock, the combination of functional and nonfunctional chords provides cohesiveness while producing a free and shifting tonal center.
The jazz minor scale or ascending melodic 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. It can also be derived from the diatonic Dorian mode with a major seventh.
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