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Articles
List of chord progressions 1
50s progression 4 Andalusian cadence 6 Backdoor progression 11 Bird changes 12 Circle progression 13 Coltrane changes 16 Eight-bar blues 22 Folia 24 Ii-V-I turnaround 27 Irregular resolution 30 Montgomery-Ward bridge 31 Omnibus progression 32 Pachelbel's Canon 33 Passamezzo antico 37 Passamezzo moderno 38 I-V-vi-IV progression 42 Ragtime progression 44 Rhythm changes 47 Romanesca 50 Twelve-bar blues 51 Turnaround (music) 59 V-IV-I turnaround 61
References
Article Sources and Contributors 63
Image Sources, Licenses and Contributors 65
Article Licenses
List of chord progressions 1
List of chord progressions
The following is a list of commonly used chord progressions in music.
Code M Major. m Minor. A Atonal. B Bitonal. I Indeterminate. P Phrygian.
List of musical chord progressions
Name Image Sound # of
chords
Quality
50s progression
A 50s progression in C.
Play Wikipedia:Media helpFile:50s progression in C.mid
4 M
Andalusian cadence
Andalusian cadence.
Play Wikipedia:Media helpFile:Simple Andalusian cadence.mid
4 P
Backdoor progression
Backdoor progression in C.
Play Wikipedia:Media helpFile:Backdoor progression in C.mid
3 M
Bird changes
Bird Blues in Bb.
Play Wikipedia:Media helpFile:Bird Blues in Bb.mid
Circle progression
Circle progression [excerpt] in C.
Play Wikipedia:Media helpFile:Vi-ii-V-I in C.mid
4 M
Coltrane changes
Coltrane changes in C.
Play Wikipedia:Media helpFile:Coltrane changes.mid
6 M
Eight-bar blues Play Wikipedia:Media helpFile:Eight bar
blues.mid
3 M
Folia
Later Folia.
Play Wikipedia:Media helpFile:Later Folia.mid 4 m
ii-V-I turnaround
ii-V-I turnaround in C.
Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid
3 M
Irregular resolution
Irregular resolution Type I: Two common tones, two note moves
by half step motion.
Play Wikipedia:Media helpFile:Irregular resolution I.mid 2 M Montgomery-Ward bridge Montgomery-Ward bridge in C. Play Wikipedia:Media
helpFile:Montgomery-Ward bridge in C.mid
4 M
Omnibus progression
Omnibus progression.
Play Wikipedia:Media helpFile:Omnibus progression.mid
List of chord progressions 3
Pachelbel's Canon
Pachelbel's Canon.
Play Wikipedia:Media helpFile:Pachelbel Canon bass line (quarter notes).mid
5 M
Passamezzo antico
Passamezzo antico.
Play Wikipedia:Media helpFile:Passamezzo antico.mid
4 m
Passamezzo moderno
Passamezzo moderno in C.
Play Wikipedia:Media helpFile:Gregory Walker progression in C.mid
3 M
Pop-punk chord progression
Pop-punk chord progression in C.
Play Wikipedia:Media helpFile:I-V-vi-IV chord progression in C.mid
4 M
Ragtime progression
Ragtime progression in C.
Play Wikipedia:Media helpFile:Ragtime progression in C.mid
5 M
Rhythm changes
Rhythm changes in C.
Play Wikipedia:Media helpFile:Rhythm changes in C.mid
? M
Romanesca
Romanesca.
Play Wikipedia:Media helpFile:Romanesca.mid 3 M
Sixteen-bar blues Play Wikipedia:Media helpFile:Sixteen bar
boogie-woogie blues in C.mid
3 M
Twelve-bar blues
Twelve-bar blues in C.
Play Wikipedia:Media helpFile:Twelve bar boogie-woogie blues in C.mid
Turnaround (music)
I-vi7-ii-V7 turnaround in C.
Play Wikipedia:Media helpFile:I-vi-ii-V turnaround in C.mid
4 M
V-IV-I turnaround
V-IV-I turnaround in C.
Play Wikipedia:Media helpFile:V-IV-I turnaround in C.mid
3 M
50s progression
50s progression in C, ending with C ( Play Wikipedia:Media helpFile:50s progression in C.mid)
The 50s progression is a chord progression and turnaround used in Western popular music. As the name implies, it was common in the 1950s and early '60s and is particularly associated with doo-wop. It has also been called the "Stand by Me" changes, and the doo-wop progression. The progression, represented in Roman numeral analysis, is: I-vi-IV-V. For example, in C major: C Am F G (macro analysis).
Theory
In Western classical music during the common practice period, chord progressions are used to structure a musical composition. The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths, the most suitable chord to precede the I chord is a V chord. This particular cadence, V-I, is known as an authentic cadence. However, since a I-V-I progression is repetitive and skips most of the circle of fifths, it is common practice to precede the dominant chord with a suitable predominant chord, such as a IV chord or a ii chord (in major), in order to maintain interest. In this case, the 50s progression uses a IV chord, resulting in the ubiquitous I-IV-V-I progression. The vi chord before the IV chord in this progression (creating I-vi-IV-V-I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I-vi-IV-V-I progression (without any chordal inversions) the bass voice descends in major or minor thirds from the I chord to the vi chord to the IV chord.
50s progression 5
Variations
50s progression in C variation, ending with C ( Play Wikipedia:Media helpFile:50s progression in C variation.mid)
As with any other chord progression, there are many possible variations, for example turning the dominant or V into a V7, or repeated I vi progression followed by a single IV V progression. A very common variation is having ii substitute for the subdominant, IV, creating the ii-V-I turnaround.
Variations include switching the vi and the
IV chord to create I IV vi V, as is used in "More Than a Feeling" by Boston and "She Drives Me Crazy" by Fine Young Cannibals.[citation needed] This is also similar to the I V vi IV progression.
The harmonic rhythm, or the pace at which the chords occur, may be varied including two beats (half-measure) per chord ( Play Wikipedia:Media helpFile:50s progression in C two beat harmonic rhythm.mid), four ( Play Wikipedia:Media helpFile:50s progression in C four beat harmonic rhythm.mid) (full measure or bar), eight ( Play Wikipedia:Media helpFile:50s progression in C eight beat harmonic rhythm.mid) (two measures), and eight beats per chord except for IV and V(7) which get four each ( Play Wikipedia:Media helpFile:50s progression in C variable harmonic rhythm.mid).
"Sleep Walk" by Santo & Johnny uses a similar progression, with the IV replaced by its parallel minor iv for an overall progression of I-vi-iv-V.[citation needed]
Examples
Well-known examples include the Penguins' "Earth Angel" (1954) and Gene Chandler's "Duke of Earl" (1962).[] Other examples include Sam Cooke's "Lovable" and other doo-wop material of the era. A modern example can be found in Green Day's "Jesus of Suburbia". Many more recent examples exist, such as Neutral Milk Hotel's "In the Aeroplane over the Sea".[citation needed] . The progression is also the basis for the verses of The Bangles' 1989 hit "Eternal Flame".[1] Madonna's 1986 single "True Blue" is written in the 50s progression.[2] More notable recent examples are Daughtry's "What About Now", Sean Kingston's "Beautiful Girls", Justin Bieber's "Baby", and Rebecca Black's "Friday".[3][4][5]
Walter Everett argues that, "despite the unusual surface harmonic progressions," in The Beatles' "Strawberry Fields Forever" (1967), "the structural basis of the song is I-VI-IV-V-I [sic]." The chorus of The Beatles' "Happiness Is a Warm Gun" is an example of the fifties progression.
In the musical Grease, the progression is invoked for the purpose of self-parody in the song "Those Magic Changes". The chorus includes a backup vocal line with lyrics "C-C-C-C-C-C / A-A-A-A-minor / F-F-F-F-F-F / G-G-G-G-seven" (repeat).
Hank Green of the Vlogbrothers created a song showing the number of songs featuring the progression, including some of his own. It was featured in one of his videos and was also performed at the Evening of Awesome.[6]
Sources
[1] " Eternal Flame (http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0053691&)", MusicNotes.com [2] " True Blue (http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0060333&)", MusicNotes.com.
[3] " What About Now (http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0064708&)", MusicNotes.com. [4] " Beautiful Girls (http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0059262&)", MusicNotes.com. [5] " Baby (http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0082601&)", MusicNotes.com. [6] " (http://www.youtube.com/watch?v=F4ALd-Top2A)"
Andalusian cadence
Andalusian cadences are common in Flamenco music. The Andalusian cadence is a term adopted from
flamenco music for a chord progression comprising four chords descending stepwise--a
vi-V-IV-III progression.[1] It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music Play Wikipedia:Media helpFile:Simple Andalusian cadence.mid.
Despite the name it is not a true cadence (i.e., occurring only once, when ending a phrase, section, or piece of music[2]); it is most often used as an ostinato (repeating over and over again). It is heard in rock songs such as "Runaway" by Del Shannon.[3]
Structure
For further explanation see Chord progression
The Andalusian cadence may be notated vi V -IV - III (if in a major key) or i – ♭VII – ♭VI – V in a minor key. This ♭VII note and chord is called the subtonic. [4] In the final chord (III or V,
depending on key signature) the leading note replaces the subtonic in order to lead back into the minor chord that begins the sequence.
Origins
A typical Andalusian cadence por arriba (i.e. in A minor). G is the subtonic and G♯ is the leading tone. (Listen) Wikipedia:Media helpFile:Figure_andalusian.ogg A popular melodic pattern of Ancient
Greece[5] offers a possible starting point for the Andalusian cadence. Called the Dorian tetrachord, the sequence resembles the bass line of the
Andalusian cadence 7
chord progression developed centuries later. Some theorists consider that the same structure may have occurred earlier in Judah.[6] A sequence more or less close to the Greek tetrachord structure might have been known to the Moors in Southern Spain and spread from there through Western Europe. The French troubadours were influenced by the Spanish music.
The Andalusian cadence known today, using triad chords, may be no earlier than the Renaissance, though the use of parallel thirds or sixths occurred from the 13th century.[7] Some sources state that the chord sequence was noted for the first time by Claudio Monteverdi in a choral work, Lamento della Ninfa, first published in the Eighth Book of Madrigals (1638) – other works in the same collection are known to have been played as soon as 1607.
The progression resembles the first four measures of the 15th century Passamezzo antico; i – ♭VII – i – V. The use of the ♭VI chord may suggest a more recent origin than the Passamezzo antico since the cadences i – ♭VII and ♭VII – i were popular in the late Middle Ages, (see also double tonic) while ♭VII – ♭VI arose as a result of advancement in music theory.[citation needed] However, the absence of the leading tone from the ♭VII chord suggests that the progression originated before the tonal system in the modal approach of the time of Palestrina, where the tonic must be approached from chord V[8] whereas typical Baroque style would have avoided the flat VII and introduced dominant chords (♮VII or V chords, to form cadences resolving upon a i chord).
Analysis
Regarding the melody
A minor seventh would be added to the dominant "V" chord to increase tension before resolution (V7-i). The roots of the chords belong to a modern phrygian tetrachord (the equivalent of a Greek Dorian tetrachord,[9] the latter mentioned above), that is to be found as the upper tetrachord of a natural minor scale (for A minor, they are: A G F E).
A remarkable fact about tetrachords was noticed since the Ancient times and rediscovered in early Renaissance: when a tetrachord features a semitone (half-step) between two of its tones, it is the semitone that will determine the melodic tendency of the given tetrachord or mode (when combining tetrachords).[10] If the semitone falls between the highest two steps, the melody tends to be ascending (e.g. major scales); a semitone between the lowest tones in the tetrachord involves a melody "inclined" to descend. This said, the Phrygian tetrachord, borrowed from traditional music of Eastern Europe and Anatolia, is to be found also in the Andalusian cadence and sets the mentioned character (the semitone falls between [the roots of] V and ♭VI).
Modal vs. tonal
Andalusian cadence in E Phrygian[11] Play Wikipedia:Media helpFile:Simple Andalusian cadence.mid.
A rigorous analysis should note that many chord progressions are likely to date back from an epoch prior to early Baroque (usually associated with birth of tonality). In such cases (also, that of the Andalusian cadence), explanations offered by tonality "neglect" the history and evolution of the chord
progression in question. This is because harmonic analyses in tonal style use only two scales (major and minor) when explaining origins of chord moves. In exchange, the luxuriant modal system (i.e., the entirety of musical modes ever created and their specific harmonies – if existing) offers various plausible origins and explanations for every chord move. However, most classical (Baroque or subsequent) and popular music which makes use of the given chord progression might treat it itself in a tonal manner.
A number of musicians and theorists (including renowned guitarist Manolo Sanlúcar) consider the Andalusian cadence as a chord progression built upon the Phrygian mode.[12] Since tonality took the first chord in the progression for a tonic ("i"), the Phrygian notation (modal) of the cadence writes as following: iv – ♭III – ♭II – I (or, more commonly, but less correctly, iv – III – II – I). Though tonal functions have little in common with the Phrygian mode, the four chords could be roughly equalized. (The Phrygian mode is like a natural minor with step two lowered; however, step three switches between major and minor third, an equivalent to the subtonic/leading tone conflict in the tonal acceptation.) Thus, the "iv" corresponds to a subdominant chord, while "♭III" is the mediant and "I" is the tonic. The "♭II" chord has a dominant function, and may be thought of as a tritone substitution of "V", i.e., the Neapolitan sixth chord. (The only purpose for highlighting these "functions" is to compare between the modal and tonal views of the cadence. The mode involved in the cadence is not a pure Phrygian, but one whose third step occurs in both instances, minor and major third. This is unacceptable in tonality; hence, tonal functions cannot be used. A common mistake occurs when the given mode is thought of as major, given that the tonic chord is major. However, the Phrygian mode features a minor third and the "I" chord may be taken for a borrowed chord, i.e., a Picardy third.)
When the VI chord, which may be added between III and ♭II (iv-III-IV-♭II-I) and cadenced upon, is the most characteristic contrasting tonal area, similar by analogy to the relative major of a minor key.
Harmonic peculiarities
The tonal system sets three main functions for the diatonic tertian chords: tonic (T), dominant (D) and subdominant (SD). Any sequence through different functions is allowed (e.g. T→D, SD→D), except for D→SD.[13] A tonal scale's degrees are as following: "I" and "VI" are tonic chords (of which, "I" is stronger; all final cadences end in "I"), "V" and "VII" are dominants (both feature the leading tone and "V" is more potent), "IV" and "II" are subdominant chords ("IV" is stronger). ("III" isn't given a precise function, although it may replace a dominant in some cases.) All sequences between same-function chords, from the weaker member to the stronger (e.g. VII – V), are forbidden. When using the natural minor, dominant chords exchange their leading tone for a subtonic; as a result, their dominant quality is strongly undermined.
A tonal insight on the Andalusian cadence leads to considering the "♭VII" a local exception: the subtonic it uses for a root should be, however, re-replaced by the leading tone before returning to "i". (The leading tone is heard in the "V" chord, as the chord's major third.) A "♭VII" would leave the dominant category (compare: "♮VII") and start acting to the contrary. That is, a "♭VII" chord would now prefer moving to a subdominant rather than to a tonic chord. Yet, the Andalusian cadence brings about a limit condition for tonal harmony, with a ♭VII – ♭VI chord move.
The Andalusian is an authentic cadence, because a dominant chord ("V") comes just before the tonic "i". (Using modal harmonies, the third, and not the fourth chord – "♭II" – acts as the dominant, substituted to tritone. Even so, the cadence stays authentic. The fourth chord itself is the tonic, so the cadence need not return to the tonal tonic, i.e. modal "iv".)
Andalusian cadence 9
Denominations in Flamenco music
Basic keys
The standard tuning in guitars determines most Flamenco music to be played only in a few keys. Of those, the most popular are the A minor and D minor (equivalent to E and A Phrygian, respectively). They are as following:
• por arriba, which corresponds to the A minor, where an Andalusian cadence consists of the following chord progression: Am – G – F – E
• por medio names the D minor key, in which the Andalusian cadence is built of a Dm – C – B♭ – A progression
Derivative keys
Using a capotasto or scordature, other keys can be obtained, mainly derived from the two basic keys. Flamenco guitarist Ramon Montoya and singer Antonio Chacón were among the first to use the new keys, and given distinctive names:
Term used in Flamenco Tonal key Modal (Phrygian) key Chord progression Construction
por granaína E minor B Phrygian Em – D – C – B por medio, capo on 2nd fret
por Levante B minor F♯ Phrygian Bm – A – G – F♯ por arriba, capo on 2nd fret
por minera C♯ minor G♯ Phrygian C♯m – B – A – G♯ por arriba, capo on 4th fret
por rondeña F♯ minor C♯ Phrygian F♯m – E – D – C♯ scordature
Music examples featuring Andalusian cadences
Popular music
Songs of the early 1960s, such as the Ventures' 1960 hit "Walk, Don't Run", turned the Andalusian cadence iconic for surf rock music.
Altered progressions
Reordered or repeated chords
• "California Dreamin'" (1965) by The Mamas & the Papas, where two chords have changed places: i (- i2) – ♭VI – ♭VII – V . (Note: the "i2" notation represents a tonic chord whose seventh falls in the bass; a " "
notation suggests a suspended chord resolving to triad)
Foreign chords, bassline unchanged
• Progression by fourths or the addition of VI between III and ♭II: Am-G7-C-F-E or iv-III7-VI-♭II-I.
Dominant chord substituted
• A most unusual way of altering the cadence can be heard in Pink Floyd's "Comfortably Numb" (1979)[citation
needed], where the "V" chord is skipped for a "iv". It is as follows: i – ♭VII – ♭VI (- ♭VI2) – iv (and back to "i").
The resulting progression is on the edge between tonal and modal, where the subtonic doesn't change back into a leading-tone, but the obtained cadence is suitable for tonality (called plagal or backdoor).
References
[1] Mojácar Flamenco (http://www.mojacarflamenco.com/FB_For_Guitarists.html), a website about basics in Flamenco music [2] Buciu, Dan (1989). Tonal Harmony, "Ciprian Porumbescu" Conservatory Publishing House, Bucharest
[3] Kelly, Casey and Hodge, David (2011). The Complete Idiot's Guide to the Art of Songwriting, . ISBN 978-1-61564-103-1. "i-VII-VI-V." [4] Popp, Marius (1998). Applicatory Harmony in Jazz, Pop & Rock Improvisation, Nemira Publishing House, Bucharest. ISBN 973-569-228-7 [5] Dǎnceanu, Liviu (2005). Seasons in Music, vol. 1, Corgal Press, Bacǎu. ISBN 973-7922-37-9
[6] Gruber, R.I. (1960). History of Universal Music, State Musical Publishing House, Moscow
[7] Schulter, Margo (1997). Thirteenth-Century Polyphony, published on the medieval.org (http://www.medieval.org) site [8] Rotaru, Doina and Comes, Liviu (1987). Vocal and Instrumental Counterpoint Treatise, Musical Publishing School, Bucharest [9] Oprea, Gheorghe (2002). Musical Folklore in Romania, Musical Publishing House, Bucharest. ISBN 973-42-0304-5 [10] Alexandrescu, Dragoş (1997). Music theory, vol. 2, Kitty Publishing House, Bucharest
[11] Tenzer, Michael (2006). Analytical studies in world music, p.97. ISBN 0-19-517789-4.
[12] Norberto Torres Cortés (2001). El compromiso y la generosidad de Manolo Sanlúcar, published in the El Olivo revue, No 88; also available here (http://www.tristeyazul.com/cronicas/ntc14.htm)
[13] Voda-Nuteanu, Diana (2006, 2007). Harmony, Musical Publishing House, Bucharest. ISBN 973-42-0438-6 (10), ISBN 978-973-42-0438-0 (13).
External links
Free scores
• Ciaconna (http://maitre.physik.uni-kl.de/~monerjan/chaconne.pdf) from Partita in D minor for solo violin by J.S. Bach
• Chaconne in G minor (http://imslp.org/wiki/Chaconne_for_Violin_and_Piano_(Vitali,_Tomaso_Antonio)) attributed to T.A. Vitali
Analyses and essays
• Bach's Chaconne and the Guitar (http://www.cumpiano.com/Home/Articles/Transcriptions/Segovia/
Segtransc/Chaconne.html), English translation of a 1930 article published by Marc Pincherle, Secretary of the French Society of Musicology in Paris
Backdoor progression 11
Backdoor progression
"'Backdoor' ii-V" in C: ii-♭VII7-I Play Wikipedia:Media helpFile:Backdoor
progression in C.mid
"'Backdoor' ii-V" in C: IV7-♭VII7-I Play Wikipedia:Media helpFile:Backdoor
progression IV in C.mid.[1]
Backdoor progression to iii, with I in place of iii: ♯ivø7-VII7(♭9)-Imaj9 Play Wikipedia:Media
helpFile:Backdoor progression to iii.mid. In jazz and jazz harmony, the chord progression from iv7 to ♭VII7 to I
has been nicknamed the backdoor progression or the backdoor ii-V. This name derives from an assumption that the normal progression to the tonic, the ii-V-I turnaround (ii-V7 to I, see also authentic cadence) is, by inference, the front door. It can be considered a minor plagal cadence in traditional theory (see minor scale and plagal cadence). "Backdoor" also refers to the unexpected modulation created through the substitution of the highly similar Imaj9 for iii7 (in C: CEGBD and EGBD) at the end of the ii-V turnaround to iii (ii/iii=iv, V/iii=♭VII, iii), thus arriving at 'home' (the tonic) through unexpected means, the 'back' instead of the 'front door'(iii7, EGBD, being entirely contained within Imaj9, CEGBD, and the seventh still resolving downward).[2] If the ii-V-I turnaround is an applied dominant (V/V-V-I), then the backdoor progression may be termed an "applied subdominant" (IV-IV/IV-I).[citation needed]
Authentic cadence (ii-V-I)
ii-V-I progression with authentic cadence
Problems playing this file? See media help.
The backdoor ii-V is considered a "bluesy" cadence and IV-♭VII-I is used repeatedly as a chord substitution, along with tritone substitution, in "Lazy Bird," John Coltrane's arrangement of Tadd Dameron's "Lady Bird."[3]
The backdoor progression can be found in popular jazz standards in such places as measures 7 and 8 of the A section of "Cherokee," measures 9 and 11 of "My Romance" or measures 10 and 28 of "There Will Never Be Another You," as well as Beatles songs like "In My Life" and "If I Fell."
The ♭VII7 chord, a pivot chord borrowed from the parallel minor of the current key, is a dominant seventh. Therefore it can resolve to I; it is commonly preceded by IV going to iv, then ♭VII7, then I. In C major the dominant would be G7: GBDF, sharing two common tones with B♭7: B♭DFA♭. A♭ and F serve as upper leading-tones back to G and E, respectively, rather than B♮ and F serving as the lower and upper leading-tones to C and E.
♯IIo7 as dominant substitute
Play Wikipedia:Media helpFile:Sharp IIdim7 as dominant substitute.mid.
The use of ♯IIo7 (in C: D♯F♯AC) as a substitute for V7 is similar.
Sources
[1] Coker, Jerry (1997). Elements of the Jazz Language for the Developing Improvisor, p.82. ISBN 1-57623-875-X. "Back Door Progression As A Substitute For V7[:] The I chord, in a given progression, is often preceded by IV-7 to VII7, instead of the usual
V7 chord.".
[2] Berg, Shelton (2005). Essentials Of Jazz Theory, p.105. ISBN 0-7390-3089-2. [3] Lyon, Jason (2007). "Coltrane’s Substitution Tune",
www.opus28.co.uk/jazzarticles.html (http://www.opus28.co.uk/jazzarticles.html).
Bird changes
Bird Blues progression in B♭ Play Wikipedia:Media helpFile:Bird Blues in
Bb.mid. The Blues for Alice changes, Bird changes, Bird Blues, or New
York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues.
The progression uses a series of sequential II-V or secondary II-V progressions, and has been used in pieces such as Parker's "Blues for Alice" and Toots Thielemans's "Bluesette".[1] Also Parker's "Confirmation".[2]
Structure
The blues progression, in C, is as follows:
| C | C | C | C | | F | F | C | C | | G | F | C | C ||
The jazz blues, in C, is as follows:[3]
| C7 | F7 | C7 | C7 | | F7 | F7 | C7 | Em7 A7 | | Dm7 | G7 | C7 A7 | D7 G7 ||
The Bird Blues progression, in C, is as follows:[4]
Popular music symbols
| CMaj7 | Bmin7b5 / E7 | Amin7 / D7 | Gmin7 / C7 | | F7 | Fmin7 / Bb7 | Emin7 / A7 | Ebmin7 / Ab7 | | Dmin7 | G7 | CMaj7 / A7 | Dmin7 / G7 ||
Roman numerals
| I | viiø / III7 | vi / II7 | v / I7 | | IV7 | iv / bVII7 | iii / VI7 | biii / bVI7 | | ii | V7 | I / VI7 | ii / V ||
This can be viewed as a cycle of ii-V progressions leading to the IV chord (E♭7 in the key of Bbmajor), and the tritone substitution of the dominant chords leading by half-step to the V chord (F7 again in Bb).
Bird changes 13
C: Amin: G(min): F:
| I | ii / V | ii / V | ii / V | F: Eb: D: Db(min):
| I7 | subii / subV | subii / subV | subii / subV | C:
| ii | V7 | I7 / VI7 | ii / V ||
Different notations
Chord Function Numerical Roman numeral
Tonic T 1 I
Subdominant S 4 IV
Dominant D 5 V
Sources
[1] Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p.182. ISBN 0-7866-7236-6. [2] Umble, Jay (2011). Mbgu Jazz Curriculum: Payin Your Dues with the Blues, p.62. ISBN 9781610653145. [3] Jacobs, Sid (2011). The Changes, p.12. ISBN 9781610651684.
[4] Baerman, Noah (1998). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, p.63. ISBN 0-88284-911-5.
Circle progression
Submediant in chain of fifths[1] Play Wikipedia:Media helpFile:Submediant in
chain of fifths bass movement.mid.
vi-ii-V-I in C Play Wikipedia:Media helpFile:Vi-ii-V-I in C.mid. In music, the circle progression is a chord progression named for
the circle of fifths, along which it travels. 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.[3]
The circle progression is commonly a circle through the diatonic chords, chords of the diatonic scale, by fifths, including one progression by diminished fifth (in C: between F and B♮) and one diminished chord (in C: Bo):
vi-ii-V-I in Bach's WTC I, Prelude in F♯ Major.[2] Play Wikipedia:Media helpFile:Bach - WTC I,
Prelude in F-sharp Major vi-ii-V-I.mid
Full circle progression in C major[4] Play Wikipedia:Media helpFile:Progresión quintas.mid. I-IV-viio-iii-vi-ii-V-I
Circle progression in major: full Wikipedia:Media helpFile:Progression majeure en cercle.ogg Shorter common progressions may be derived by selecting certain specific chords from the series completing a circle from the tonic through all seven diatonic chords, such as the primary triads book-ending the progression:
I- V-I = I-V-I
Circle progression excerpt: I-V-I Wikipedia:Media helpFile:Progression en cercle I-V-I.ogg I-IV- V-I = I-IV-V-I
Circle progression 15
vi-ii-V-I in Mozart's Sonata, K. 545 Play Wikipedia:Media helpFile:Mozart - Sonata,
K.545.mid. 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.
The circle progression may also contain dominant seventh chords.
I−vi−ii−V
I−vi−ii−V is a very common "chord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section. I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.
In the jazz minor scale the diatonic progression |: C-Δ7 / A-7♭5 | D-7 / G7♭13 :|
is possible[5] (I-Δ7—vi-7♭5—ii-7—V7♭13). Play Wikipedia:Media helpFile:Jazz minor scale diatonic chord progression.mid
See: Tadd Dameron turnaround.
Sources
[1] William G Andrews and Molly Sclater (2000). Materials of Western Music Part 1, p.227. ISBN 1-55122-034-2.
[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. ISBN 0-582-28227-6.
[3] Bruce Benward and Marilyn Nadine Saker, Music In Theory and Practice, seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN 978-0-07-294262-0.
[4] Caplin, William E. (2000). Classical Form, p.28. ISBN 0-19-514399-X.
Coltrane changes
In jazz harmony, the Coltrane changes (Coltrane Matrix or cycle, also known as chromatic third relations and multi-tonic 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 (on the track "Three Little Words") and Cannonball Adderley Quintet in Chicago (on "Limehouse Blues").
Coltrane continued his explorations on the 1960 album Giant Steps, and expanded upon the substitution cycle in his compositions "Giant Steps" and "Countdown", the latter of which is a reharmonized version of Miles Davis's "Tune Up." The Coltrane changes are a standard advanced harmonic substitution used in jazz improvisation.
The changes serve as a pattern of chord substitutions for the ii-V-I progression (supertonic-dominant-tonic) Play Wikipedia:Media helpFile:Ii-V-I without subV.ogg and are noted for the tonally unusual root movement down by major thirds (as opposed to the usual minor or major seconds, see steps and skips, thus the "giant steps"[citation
needed]), creating an augmented triad.
Influences
David Demsey, saxophonist and Coordinator of Jazz Studies at William Paterson University, cites a number of influences leading toward's Coltrane's development of these changes. After Coltrane's death it was proposed that his "preoccupation with... chromatic third-relations" was inspired by religion or spirituality, with three equal key areas having numerological significance representing a "'magic triangle,'" or, "the trinity, God, or unity."[1] However, as seen above, Demsey shows that though this meaning was of some importance, third relationships were much more "earthly," or rather historical, in origin. Mention should be made of his interests in Indian ragas during the early 1960s, the Trimurti of Vishnu, Brahma and Shiva may well have been an inherent reference in his chromatic third relations, tritone substitutes et al.
Miles Davis, who mentored Coltrane in many ways, was in the late 1950s moving toward the modal style demonstrated on Kind of Blue[citation needed]. In playing that style, Coltrane found it "easy to apply the harmonic ideas I had... I started experimenting because I was striving for more individual development."[2] He developed his sheets of sound style while playing with Davis and with pianist Thelonious Monk during this period.[3]
Coltrane studied harmony at the Granoff School of Music in Philadelphia, exploring contemporary techniques and theory. He also studied the Thesaurus of Scales and Melodic Patterns by Nicolas Slonimsky (1947), which additionally served as practice material. The first half of Giant Steps (melody and harmony) is contained in the Preface of Slonimsky's bookWikipedia:Citing sources.
SeeChord [4] chart The bridge of the Rodgers and Hart song and jazz standard "Have You
Met Miss Jones?" (1937) predated Tadd Dameron's "Lady Bird", after which Coltrane named his "Lazy Bird", by incorporating modulation by major third(s).[5] (shown by the * below) "Giant Steps" and "Countdown" may both have taken the inspiration for their augmented tonal cycles from "Have You Met Miss Jones".[6]
"Have You Met Miss Jones" B section chord progression (Bridge):
| * | | * | | * | | * | || | BbM7 | Abm7 Db7 | GbM7 | Em7 A7 | DM7 | Abm7 Db7 | GbM7 | Gm7 C7 ||
Coltrane changes 17
Play the chord progression for the "Have You Met Miss Jones?" bridge section
Problems playing this file? See media help.
Coltrane substitution
ii-V7-I progression in C lasting only two measures Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid. The Coltrane substitution, Coltrane changes, or
"'Countdown' formula" is as follows. Given the ii-V-I turnaround lasting four measures:
ii7 | V7 | I | I || Dm7 | G7 | C | C ||
with the dominant chord (V7) preceding the tonic (I).
SeeChord chart of a Coltrane substitution. One substitutes two chords for each of the first three:
ii7 | | V7 | I || Dm7 Eb7 | Ab B7 | E G7 | C || m2 P4 m3 P4 m3 P4[7]
Notice a dominant seventh chord preceding and thus tonicizing a major chord on C and also E and Ab, both a major third from C.
(V7 | I)(V7 | I)(V7 | I) Eb7 | Ab B7 | E G7 | C
Four measure ii-V-I progression in C with Coltrane substitution Play Wikipedia:Media helpFile:Coltrane changes.mid.
This also may begin on C, as on "Giant Steps", giving:
C Eb7 | Ab B7 | E G7 | C || m3 P4 m3 P4 m3 P4
The major thirds cycle
The harmonic use of the chromatic third relation originated in the Romantic era and may occur on any structural level, for example in chord progressions or through key changes.[8] The standard Western chromatic scale has twelve equidistant semitones.[9] When arranged according to the circle of fifths, it looks like this:
Precisely because of this equidistancy, the roots of these three chords can produce a destabilizing effect; if C, A-flat, and E appear as the tonic pitches of three key areas on a larger level, the identity of the composition's tonal center can only be determined by the closure of the composition.
—Demsey (1991)
Looking above at the marked chords from "Have You Met Miss Jones?", B♭-G♭-D are spaced a major third apart. On the circle of fifths it appears as an equilateral triangle:
By rotating the triangle, all of the thirds cycles can be shown. Note that there are only four unique thirds cycles. This approach can be generalized; different interval cycles will appear as different polygons on the diagram.
Coltrane changes 19
"Tune Up" and "Countdown"
SeeChord chart of Tune Up.
Play this "Tune Up" excerpt chord progression
Problems playing this file? See media help.
"Tune Up"
These are the first eight bars of the Miles Davis composition "Tune Up." The chord changes are relatively simple, a straightforward application of the ii-V-I progression, which is extremely common in jazz.
| ii | V | I | I | ii | V | I | I ||
| Em7 | A7 | DM7 | DM7 | Dm7 | G7 | CM7 | CM7 ||[citation needed]
The chord progression is a standard ii7 V7 I progression in D Major and then in C Major. Assume that the time signature is 4/4 and that each ii and V chord gets 4 beats and the I chord gets 8 beats.
"Countdown"
The Changes below show Coltrane's substitution of chord changes over "Tune Up". When writing jazz tunes that substitute chords, it is very common to title the tune with a play on words of the name of the original composition, hence "Tune Up" became "Countdown"[citation needed]. The ii V I progression from "Tune Up" still appears but is enhanced with several transition chords that lead to a more complex harmonic progression.
| ii | * | * V | I* | ii | * | * V | I* ||
| Em7 F7 | BbM7 Db7 | GbM7 A7 | DM7 | Dm7 Eb7 | AbM7 B7 | EM7 G7 | CM7 ||[citation needed]
Play this "Countdown" excerpt chord progression
Problems playing this file? See media help.
In the standard Coltrane change cycle the ii V I is substituted with a progression of chords that cycle back to the V I at the end. In a 4/4 piece, each chord gets 2 beats per change.
Coltrane developed this modified chord progression for "Countdown", which is much more complex. At its core, "Countdown" is a variation of "Tune Up"[citation needed], but the harmonic substitutions occur rapidly and trick the listener into thinking that they are listening to a completely unrelated tune. The ii, V and I remain, but in between are other chords(*) from the major thirds cycle centered around each I . Preceding the first chord of each major thirds cycle is its V chord.
An earlier Coltrane piece, "Lazy Bird", also features two tonal centers a major third apart in its A section.
"Giant Steps"
The Giant Steps cycle is the culmination of Coltrane's theories applied to a completely new chord progression: Coltrane uses the Coltrane cycle in descending Major 3rd tonal transpositions in the opening bars and then ascending ii V I progressions separated by a major 3rd in the second section of Giant Steps. The second section is basically the inverse of the bridge section described in "Have You Met Miss Jones" above.
| I Coltrane Substitution Cycle| ii V | I Coltrane Substitution Cycle|
| BM7* D7 | GM7* Bb7 | EbM7* | Am7 D7 | GM7* Bb7 | EbM7* F#7 | BM7* |[citation needed]
Ascending/Descending ii V I progression separated by a Major 3rd (Tonal centers E♭ - G - B - E♭ - B)
| ii V | I | ii V | I | ii V | I | ii V | I | ii V :||[citation needed] | Fm7 Bb7 | EbM7* | Am7 D7 | GM7* | C#m7 F#7 | BM7* | Fm7 Bb7 | EbM7* | C#m7 F#7 :||
SeeChord chart of "Giant Steps". This diagram shows what scales are used for the different chords:
BMaj7 B Maj scale D7 to GMaj7 G Maj scale B♭7 to E♭Maj7 Eb Maj scale Am7 to D7 to Gmaj7 G Maj scale B♭7 to E♭Maj7 Eb Maj scale F♯7 to BMaj7 B Maj scale Fm7 to B♭7 to E♭Maj7
Coltrane changes 21 Eb Maj scale Am7 to D7 to GMaj7 G Maj scale C♯m7 to F♯7 to BMaj7 B Maj scale Fm7 to Bb7 to E♭Maj7 Eb Maj scale C♯m7 to F♯7 B Maj scale
Sample
These variations were used to compose other Coltrane tunes based on other jazz standards:
The standard substitution
Although "Giant Steps" and "Countdown" are perhaps the most famous examples, both of these compositions use slight variants of the standard Coltrane changes (The first eight bars of "Giant Steps" uses a shortened version that doesn't return to the "I" chord, and in "Countdown" the progression begins on the IIm7 each time.). The standard substitution can be found in several Coltrane compositions and arrangements all recorded around this time. These include: "26-2" (a re-harmonization of Charlie Parker's "Confirmation"), "Satellite" (based on the standard "How High the Moon"), the tune "Exotica" (loosely based on the harmonic form of "I Can't Get Started"), Coltrane's arrangement of the standard "But Not for Me," and on the bridge of his arrangement of the famous ballad "Body and Soul."[citation needed]
In addition, Coltrane's tune "Fifth House" (based on "What is This Thing Called Love") is particularly notable[citation
needed] because the standard substitution is implied over an ostinato bass pattern, with nobody actually playing the
chord changes. When Coltrane's improvisation superimposes this progression over the ostinato bass, it is easy to hear how he used this concept for his more free playing in later years.
Further reading
• Baker, David N. (1990). The Jazz Style of John Coltrane. Alfred Publishing. ISBN 0-7692-3326-0.
• Weiskopf, Walt; Ramon Ricker (1991). Coltrane - A Player's Guide to His Harmony. New Albany, Indiana: Jamey Aebersold.
• Yamaguchi, Masaya (2002). "A Creative Approach to Multi-Tonic Changes: Beyond Coltrane's Harmonic Formula", Annual Review of Jazz Studies 12. ISBN 0-8108-5005-2.
• Yamaguchi, Masaya (2003). John Coltrane Plays Coltrane Changes. Milwaukee: Hal Leonard Corp. ISBN 0-634-03864-8.
References
[1]
[1] Demsey (1991), p.145.
[2] Demsey, David (1991). “Chromatic Third Relations in the Music of John Coltrane,”, p.158, Annual Review of Jazz Studies 5: 145-80. ISBN 0-8108-2478-7.
[3] Ruhlmann, William. [ "John Coltrane Biography", allmusic.com]. [4] http://www.seechord.co.uk/
[5] Lyon, Jason (2007). "Coltrane's Substitution Tunes" (http://www.opus28.co.uk/tranesubtunes.pdf), in www.opus28.co.uk/jazzarticles.html (http://www.opus28.co.uk/jazzarticles.html).
[6] Christiansen, Corey (2007). "Coltrane-Style II-V-Is", Guitar Player Jun; 41, 6.
[7] Baker, David (1990). Modern Concepts in Jazz Improvisation, p.92-93. ISBN 0-7390-2907-X. [8]
[8] Demsey (1991), p.146-147.
[9] Proctor, Gregory (1978). Nineteenth-Century Chromatic Tonality: A Study in Chromaticism, p.150. Ph.D., Diss., Princeton. Cited in Demsey (1991), p.148.
External links
• "The Giant Steps Progression and Cycle Diagrams" (http://danadler.com/misc/Cycles.pdf), DanAdler.com (155 KB PDF) - Dan Adler
• "John Coltrane - Harmonic Substitutions" (http://www.lucaspickford.com/transsubs.htm), LucasPickford.com: "Extending the Coltrane Changes" by David Baker
• "Giant Steps (in minute detail)" (http://www.songtrellis.com/GiantStepsInDetail), SongTrellis.
• Javier Arau. "Augmented Scale Theory" (http://www.javierarau.com/books-augmented.php), Javier Arau. • Michael Leibson. "Giant Steps, Central Park West and Modulatory Cycles" (http://www.thinkingmusic.ca/
analyses/coltrane/), ThinkingMusic.ca.
Eight-bar blues
Typical boogie woogie bassline on 8 bar blues progression in C, chord roots in red. Play Wikipedia:Media helpFile:Eight bar boogie-woogie blues in C.mid In music, an eight-bar blues is a
typical blues chord progression, "the second most common blues form,"[1] "common to folk, rock, and jazz forms of the blues,"[2] taking eight 4/4 or 12/8 bars to the verse.
Examples include "Sitting on Top of the World" and "Key to the
Highway",[3] "Trouble in Mind" and "Stagolee".[4] "Heartbreak Hotel", "How Long Blues", "Ain't Nobody's Business", "Cherry Red", and "Get a Haircut" are all eight-bar blues standards.[citation needed]
One variant using this progression is to couple one eight-bar blues melody with a different eight-bar blues bridge to create a blues variant of the standard 32-bar song. "Walking By Myself", "I Want a Little Girl" and "(Romancing) In The Dark" are examples of this form.[citation needed] See also blues ballad.
Eight bar blues progressions have more variations than the more rigidly defined twelve bar format. The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar). However, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues."
In the following examples each box represents a 'bar' of music (the specific time signature is not relevant). The chord in the box is played for the full bar. If two chords are in the box they are each played for half a bar, etc. The chords are represented as scale degrees in Roman numeral analysis. Roman numerals are used so the musician may understand the progression of the chords regardless of the key it is played in.
Eight-bar blues 23
Eight-bar blues
[5]I V7 IV7 IV7 I V7 IV7 I V7 Play eight bar blues in C Wikipedia:Media helpFile:Eight bar blues.mid "Worried Life Blues" (probably the most common eight bar blues progression):
I I IV IV I V I IV I V
Play eight bar blues progression in C Wikipedia:Media helpFile:Eight bar blues progression in C.mid "Heartbreak Hotel" (variation with the I on the first half):
I I I I IV IV V I
J. B. Lenoir's "Slow Down"[6] and "Key to the Highway" (variation with the V at bar 2): I7 V7 IV7 IV7
I7 V7 I7 V7 [7]
"Get a Haircut" by George Thorogood (simple progression):
I I I I IV IV V V
Jimmy Rogers' "Walkin' By Myself" (somewhat unorthodox example of the form):
I7 I7 I7 I7 IV7 V7 I7 V7
Howlin Wolf's version of "Sitting on Top of the World" uses movement between major and dominant 7th and major and minor fourth:
I I7 IV iv I7 V I7 IV I7 V
The first four bar progression used by Wolf is also used in Nina Simone's 1965 version of Trouble in Mind, but with a more uptempo beat than Sitting on Top of the World:
I I7 IV iv
I VI7 ii V I IV I V
The progression may be created by dropping the first four bars from the twelve-bar blues, as in the solo section of Bonnie Raitt's "Love Me Like a Man" and Buddy Guy's "Mary Had a Little Lamb":[8]
IV7 IV7 I7 I7 V7 IV7 I7 V7
(The same chord progression can also be called a sixteen-bar blues, if each symbol above is taken to be a half note in 2/2 or 4/4 time—blues has not traditionally been associated with notation, so its form becomes a bit slippery when written down.) For example "Nine Pound Hammer". Ray Charles's original instrumental "Sweet Sixteen Bars" is another example.
Sources
[1] Riker, Wayne (1994). Complete Blues Guitar Method: Mastering Blues Guitar, p.91. ISBN 978-0-7390-0408-1. [2] Barrett, David (2000). Blues Harmonica Jam Tracks & Soloing Concepts #1, p.8. ISBN 978-0-7866-5653-0. [3] James, Steve (2001). Inside Blues Guitar, p.18. ISBN 978-1-890490-36-2.
[4] George Heaps-Nelson, Barbara Koehler (1989). You Can Teach Yourself Harmonica, p.87. ISBN 978-0-87166-264-4. [5] Alfred Publishing (2002). Beginning Delta Blues Guitar, p.41. ISBN 978-0-7390-3006-6.
[6] David Barrett, John Garcia (2008). Improvising Blues Harmonica, p.50. ISBN 978-0-7866-7321-6. [7] Barrett, David (2006). Blues Harmonica Play-along Trax, p.16. ISBN 978-0-7866-7393-3. [8]
[8] Riker (1994), p.92.
Folia
"The 'later' folia", a harmonic-metric scheme consisting of two eight-bar phrases, was first used in approximately 1670[1] Play Wikipedia:Media helpFile:Later Folia 2.mid.
Early folia[2] Play Wikipedia:Media helpFile:Early Folia.mid.
Early folia variant Play Wikipedia:Media helpFile:Early Folia b.mid.
La Folía (Spanish), also folies d'Espagne (French), Follies of Spain
(English) or Follia (Italian), is one of the oldest remembered[citation needed] European musical themes, or primary material, generally melodic, of a composition, on record. The theme exists in two versions, referred to as early and late folias, the earlier being faster.
History
The epithet 'Folia' has several meanings in music.
• Western classical music features both an "early Folia," which can take different shapes, and the better-known "later Folia" (also known as "Follia" with double l in Italy, "Folies d'Espagne" in France, and "Faronel's Ground" in
England).
• "Early Folia": Recent research suggests that the origin of the folia framework lies in the
application of a specific compositional and improvisational method to simple melodies in minor mode. Thus, the essence of the "early Folia" was not a specific theme or a fixed sequence of chords but rather a
Folia 25
• The "later Folia" is a standard chord progression (i-V-i-VII / III-VII-[i or VI]-V / i-V-i-VII / III-VII-[i or VI7]-V[4-3sus]-i) and usually features a standard or "stock" melody line, a slow sarabande in triple meter, as its initial theme. This theme generally appears at the start and end of a given "Folia" composition, serving as "bookends" for a set of variations within which both the melodic line and even the meter may vary. In turn, written variations on the "later Folia" may give way to sections consisting of partial or pure improvisation similar to those frequently encountered in the twelve-bar blues that rose to prominence in the twentieth century.
• Several sources report that Jean-Baptiste Lully was the first composer to formalize the standard chord progression and melodic line.[4][5]
• Other sources note that the chord progression eventually associated with the "later Folia" appeared in musical sources almost a century before the first documented use of the "Folia" name. The progression emerged between the end of the 15th century and the beginning of the 16th century in vocal repertory found in both Italian (“Canzoniere di Montecassino”, “Canzoniere di Perugia” and in the frottola repertoire) and Spanish sources (mainly in the “Cancionero Musical de Palacio” and, some years later, in the ensaladas repertoire). Even though the folía framework appeared almost at the same time in different countries with numerous variants that share similar structural features, it is not possible to establish in which country the framework originated.
• There exists a folk tune with the name "Folía" in the Canary Islands.[citation needed]Wikipedia:Please clarify
Structure
Later folia variant.[6][7] Play Wikipedia:Media helpFile:Later Folia b.mid The framework of the 'Later Folia', in
the key of D minor, the key that is most often used for the 'later Folia'; one chord per bar except for bar 15. The basic 16-bar chord progression:
Dm A7 Dm C F C Dm A7 Dm A7 Dm C F C Dm A7 Dm
Historical significance
Over the course of three centuries, more than 150 composers have used it in their works. The first publications of this theme date from the middle of the 17th century, but it is probably much older. Plays of the renaissance theatre in Portugal, including works by Gil Vicente, mention the folia as a dance performed by shepherds or peasants. The Portuguese origin is recorded in the 1577 treatise De musica libri septem by Francisco de Salinas.
Jean-Baptiste Lully, along with Philidor l'aîné in 1672, Arcangelo Corelli in 1700, Marin Marais in 1701, Alessandro Scarlatti in 1710, Antonio Vivaldi in his Opus 1 No. 12 of 1705, Francesco Geminiani in his Concerto Grosso No. 12 (which was, in fact, part of a collection of direct transcriptions of Corelli's violin sonatas), George Frederick Handel in the Sarabande of his Keyboard Suite in D minor HWV 437 of 1727, and Johann Sebastian Bach in his Peasants' Cantata of 1742 are considered to highlight this 'later' folia repeating theme in a brilliant way. Antonio Salieri's 26 variations, produced late in his career, are among his finest works.
In the 19th century, Franz Liszt included a version of the Folia in his Rhapsodie Espagnole, and Ludwig van Beethoven quoted it briefly in the second movement of his Fifth Symphony.
La Folia once again regained composers' interest during the 1930s with Sergei Rachmaninov in his Variations on a
theme by Corelli in 1931 and Manuel María Ponce and his Variations on "Spanish Folia" and Fugue for guitar.
La Folia
Without variations (290KB)
Problems playing this file? See media help.
The folia melody has also influenced Scandinavian folk music. It is saidWikipedia:Avoid weasel words that around half of the old Swedish tunes are based on la folia. It is possible to recognize a common structure in many Swedish folk tunes, and it is similar to the folia structure. Old folk tunes (19th century or older) which do not have this structure often come from parts of Sweden with little influences from upper classes or other countries.
References
[1] Hudson (1973). cited in Esses, Maurice (1993). History and Background, Music and Dance, p.572-73. ISBN 0-945193-08-4. [2]
[2] Simpson, Christopher (1665) cited in Esses (1993), p.572.
[3] Giuseppe Fiorentino."Folía". El origen de los esquemas armónicos entre tradición oral y transmisión escrita. Kassel: Reichenberger. ISBN 978-3-937734-99-6.
[4] Paull, Jennifer (2007). Cathy Berberian and Music's Muses, p.263. ISBN 978-1-84753-889-5. "One of the earliest known instrumental settings was Lully's ‘Air des Hautbois’, written in 1672 for the ‘Bande des Hautbois’."
[5] Betty Bang Mather, Dean M. Karns (1987). Dance rhythms of the French Baroque: a handbook for performance, p.239. ISBN 978-0-253-31606-6. "The earliest instrumental couplet with the standard form is the one that starts Lully's arrangement of 1670 for Louis XIV's ..."
[6] Apel, Willi (1969). Harvard Dictionary of Music, p.323. ISBN 978-0-674-37501-7.
[7] Randel, Don Michael (1999). The Harvard concise dictionary of music and musicians, p.236. ISBN 978-0-674-00084-1.
External links
• La Folia - A Musical Cathedral (http://www.folias.nl/)
• La Folia (1490–1701) - Jordi Savall et al. - Alia Vox 9805 (http://www.classicalacarte.net/Fiches/9805.htm) • Altre Follie (1500–1750), Hespèrion XXI, Jordi Savall - Alia Vox 9844 (http://www.classicalacarte.net/
Fiches/9844.htm)
• El Nuevo Mundo - Folias Criollas, Tembembe Ensamble Continuo, La Capella Reial de Catalunya, Hespèrion XXI, dir. Jordi Savall - Alia Vox AVSA9876 (http://www.classicalacarte.net/Fiches/9876.htm)
• Possible origins of the Folía of the Canary Islands (in Spanish) (http://www.bienmesabe.org/noticia/2007/ Diciembre/la-folia-canaria-posibles-origenes-peculiaridades-en-su-forma-en-canarias-y-analisis-de-sus-caracter) • A list of musical scores based on the Folia from the Petrucci Music Library (http://imslp.org/wiki/
Ii-V-I turnaround 27
Ii-V-I turnaround
ii-V7-I progression in C Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid
Bach - Well-Tempered Clavier, Book I, Prelude I, opening: I-ii -V -I.[1] Play Wikipedia:Media helpFile:Bach - Well-Tempered Clavier, Book I, Prelude I,
opening.mid
ii-V-I in Bach's WTC I, Prelude in D Major.[2] Play Wikipedia:Media helpFile:Bach - WTC I, Prelude in D Major ii-V-I.mid The ii-V-I turnaround, ii-V-I progression,
or ii V I, also known as the dominant cadence, is a common cadential chord progression used in a wide variety of music genres, especially jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree, or supertonic, to the fifth degree, or dominant, and finally to the tonic. In a major key, the supertonic (ii) triad is minor, while in a minor key, this triad is diminished. The dominant chord is, in its most basic form, a major triad and, commonly, a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions (most often sevenths), limitless variations exist on this simple formula.
ii-V-I has been used for a hundred years and is currently "a staple of virtually every type of popular music," including jazz, R&B, pop, rock, and country.[3] Examples include "Honeysuckle Rose" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord," and "Satin Doll" (1953),[4] and "If I Fell".[5]
Jazz
ii-V-I progressions are extremely common in jazz. They serve two primary functions, which are often intertwined: to temporarily imply passing tonalities, and to lead strongly toward a goal (the "I" chord). One potential
situation where ii-V-I progressions can be put to use is in a blues, whose generic form has no such progressions. In this example, a simple 12-bar F blues is shown followed by a similar one with some basic ii-V-I substitutions:
| F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | C7 | Bb7 | F7 | C7 || | F7 | Bb7 | F7 | Cm F7 | Bb7 | Bb7 | F7 | Am D7 | Gm | C7 | F7 | Gm C7 ||
In bar 4, instead of the simple V I root motion in the original blues, the ii chord of the B♭7 (Cm) is included so that the measure is even more directed toward the following downbeat with the B♭7. In bars 8-10, instead of leading back to the tonic with the standard V-IV-I (blues cadence), a series of applied ii-V-I progressions is used to first lead to Gm, which then itself is reinterpreted as a ii and used to lead back to F7 through its own V, which is C7. In the last
bar (the "turnaround"), the same type of substitution is used as that in bar 4. In practice, musicians will often add extensions to the basic chords shown here, especially 7ths, 9ths, and 13ths, as seen in this example:
iim9 V♯9♭13 Imaj9
In jazz, the ii is typically played as a minor 7th chord, and the I is typically played as a major 7th chord (though it can also be played as a major 6th chord). The iim7-V7-Imaj7 progression provides smooth voice leading between the thirds and sevenths of these chords; the third of one chord becomes the seventh of the next chord, and the seventh of one chord moves down a half-step to become the third of the next chord. For example, in the key of C, the standard jazz ii-V-I progression is Dm7-G7-Cmaj7, and the thirds and sevenths of these chords are F-C, B-F, E-B; inverted for smoother voice leading, these become F-C, F-B, E-B.
The ii is sometimes replaced by the II7, giving it a more dissonant, bluesy feel; this is especially common in turnarounds. Additionally, the ii can be treated like a temporary minor tonic, and preceded by its own "ii-V", extending the basic progression to a iii-VI-ii-V-I; again, this is quite common in turnarounds (with the iii-VI replacing the I in the second-to-last bar; in the example above, the last two bars would change from F7 | Gm-C7 to Am-D7 | Gm-C7).
The ii-V7-I can be further modified by applying a tritone substitution to the V7 chord, replacing it with the ♭II7 chord. This is possible because the ♭II7 has the same third and seventh as the V7, but inverted; for example, the third and seventh of G7 are B and F, while the third and seventh of D♭7 are F and C♭, which is enharmonic to B. Performing this substitution (in this case, changing Dm7-G7-Cmaj7 to Dm7-D♭7-Cmaj7) creates smooth chromatic movement in the chord roots—the root of the ii (D) moves down a half-step to become the root of the ♭II7 (D♭), which moves down another half-step to become the root of the I (C).
The tritone substitution, the substitution of ♭II7 for V7, and the III-VI-II-V extension can be combined in different permutations to produce many different variations on the same basic progression—e.g. iii7-♭III7-iim7-♭II7-Imaj7-III7-♭III7-II7-♭II7-I7, etc.
Four-voice classical, three-voice and four-voice jazz "versions" [voicings] of the ii-V7-I progression. The classical example features inversions to emphasize the bass line's independence while the jazz examples feature root progression by fifths and "perfectly smooth voice leading" produced by the 7th of each chord falling a semitone to become the 3rd while the 3rd becomes the 7th of that chord.[6] Play Wikipedia:Media
helpFile:Ii-V-I classical and jazz.mid
The backdoor progression can be a substitution for ii-V-I using iv-♭VII-I.[citation needed]
The ii-V pair is also sometimes used without function (actually i-IV) in place of a minor tonic, to accommodate be-bop improvisations.
Ii-V-I turnaround 29
Classical
vi-ii-V-I in C Play Wikipedia:Media helpFile:Vi-ii-V-I in C.mid. ii-V-I is part of 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.[1]
In the tonal tradition, the ii-V-I progression is most often reserved for cadences, and is one of many often used cadential progressions. The ii, V, and I can all appear in inversion, although usually without significant alteration beyond the addition of sevenths. One very common implementation of ii-V-I in a classical piece would be this progression, where the ii chord appears in first inversion:
ii6-V7-I.[citation needed]
Minor key
ii-V7-I progression in C minor: Dm7♭5-G7-Cm[7] Play Wikipedia:Media helpFile:Ii-V-I turnaround in C minor.mid.
Four-voice ii-V-I turnaround in C minor: Dm7♭5-G♭9-CmM7 Play Wikipedia:Media helpFile:Ii-V-I turnaround four-voice in C minor.mid. In minor, a seventh chord built on the
supertonic yields a half-diminished seventh chord, which is a very strong predominant chord. Due to what is considered the harsh nature of root position diminished chords, the iiø chord most often appears in first inversion.
The iiø chord appears in the natural minor scale and may be considered a minor seventh chord with a flatted fifth and is used in the ii-V-I in minor[4]
Sources
[1] Kostka, Stefan, and Dorothy Payne (1995). Tonal
Harmony, with an Introduction to
Twentieth-Century Music, p.227, third edition. New
York: McGraw-Hill. ISBN 0-07-035874-5. [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.
ISBN 0-582-28227-6.
[3] Workman, Josh. "Chops: II-V-I Survival Tips", Guitar Player 37:4 (April 2003), p. 90.
[4] Jazz Standards Songs and Instrumentals (Satin Doll) (http://www.jazzstandards.com/compositions-0/satindoll.htm) [5] Walter; The Beatles As Musicians: The Quarry Men Through Rubber Soul, p. 231. (http://books.google.com/
books?id=dDEMiCQWPb8C&lpg=PA231&dq=beatles "ii V i"&pg=PA231#v=onepage&q&f=false|Everett,) [6]
[6] Humphries, Carl (2002). The Piano Handbook, p.128. ISBN 0-87930-727-7. [7] Boyd, Bill (1997). Jazz Chord Progressions, p.6. ISBN 0-7935-7038-7.
Irregular resolution
Irregular resolution Type I Play Wikipedia:Media helpFile:Irregular resolution I.mid. Two common tones, two note
moves by half step motion.
Irregular resolution through augmented sixth equivalence Play Wikipedia:Media helpFile:Irregular resolution through augmented sixth equivalence.mid. One common tone, three
notes move by half step motion. In music, an irregular resolution is resolution by a dominant seventh
chord or diminished seventh chord to a chord other than the tonic. Regarding the dominant seventh, there are many irregular resolutions including to a chord with which it has tones in common or if the parts move only a whole or half step.[1] Consecutive fifths and octaves, augmented intervals, and false relations should still be avoided. Voice leading may cause the seventh to ascend, to be prolonged into the next chord, or to be unresolved.[2]
The following resolutions to a chord with tones in common have been identified:
• Type I, in which the root motion descends by minor third. C, E, G, B♭ would resolve to C♯, E, G, A; two tones are common, two voices move by half-step in contrary motion.
•• Type II, in which the root motion rises by minor third. C, E, G, B♭ would resolve to D♭, E♭, G, B♭; again, two tones are common, two voices move by half-step in contrary motion.
• Type III, in which the root moves a tritone (two minor thirds) away. C, E, G, B♭ would resolve to C♯, E, F♯, B♭ = A♯; again, two tones are common (with enharmonic change), two voices move by half-step in contrary motion.
Regular resolution Play Wikipedia:Media helpFile:Regular resolution.mid. One common tone, two notes moves by half step motion, and
one note moves by whole step motion. Type I is common from the 18th century; Type II may be found from
the second quarter of the 19th century; Type III may be found from the mid-19th century. The composer Richard Edward Wilson is responsible for the categorization.
The most important irregular resolution is the deceptive cadence, most commonly V7-vi in major or V7-VI in minor.[] Irregular resolutions also include V7 becoming A6 [specifically a German sixth] through enharmonic equivalence or in other words (and the image to the right) resolving to the I chord in the key the augmented sixth chord (FACD♯) would be in (A) rather than the key the dominant seventh (FACE♭) would be in (B♭).
Sources
[1] Chadwick, George Whitefield (2008). Harmony, a Course of Study, p.160. ISBN 0-559-22020-0. [2] Foote, Arthur (2007). Modern Harmony in its Theory and Practice, p.93ff. ISBN 1-4067-3814-X.
Montgomery-Ward bridge 31
Montgomery-Ward bridge
Montgomery-Ward bridge in C Play Wikipedia:Media
helpFile:Montgomery-Ward bridge in C.mid.
Montgomery-Ward bridge with ii-V's in C Play Wikipedia:Media
helpFile:Montgomery-Ward bridge with ii-V's in C.mid.
In jazz music, the Montgomery-Ward bridge is a standard chord progression often used as the bridge, or 'B section,' of a jazz standard. The progression consists, in its most basic form, of the chords I7 - IV7 - ii7 - V7. Oftentimes, some or all of the dominants are substituted with ii-V progressions or otherwise altered. This is used in such standards as "The Sunny Side of the Street", "When You're Smiling", "Satin Doll", and "Honeysuckle Rose".
Eight bars:
Vm7 | I7 | IV | IV | VIm7 | II7 | IIm7 | V7
Play Wikipedia:Media helpFile:Montgomery-Ward bridge eight bar in C.mid
