Chord Progressions 4r2m4p

Chord Progressions

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Contents 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

amezzo antico

37

amezzo 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 License

67

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

50s progression

Sound

# of chords

Quality

Play Wikipedia:Media helpFile:50s progression in C.mid

4

M

Play Wikipedia:Media helpFile:Simple Andalusian cadence.mid

4

P

Play Wikipedia:Media helpFile:Backdoor progression in C.mid

3

M

?

M

A 50s progression in C. Andalusian cadence

Andalusian cadence. Backdoor progression

Backdoor progression in C. Bird changes

Play Wikipedia:Media helpFile:Bird Blues in Bb.mid

Bird Blues in Bb.


2

Circle progression

Play Wikipedia:Media helpFile:Vi-ii-V-I in C.mid

4

M

Play Wikipedia:Media helpFile:Coltrane changes.mid

6

M

Play Wikipedia:Media helpFile:Eight bar blues.mid

3

M

Play Wikipedia:Media helpFile:Later Folia.mid

4

m

Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid

3

M

Play Wikipedia:Media helpFile:Irregular resolution I.mid

2

M

4

M

?

M

Circle progression [excerpt] in C. Coltrane changes

Coltrane changes in C. Eight-bar blues Folia

Later Folia. ii-V-I turnaround

ii-V-I turnaround in C. Irregular resolution

Irregular resolution Type I: Two common tones, two note moves by half step motion. Montgomery-Ward bridge

Play Wikipedia:Media helpFile:Montgomery-Ward bridge in C.mid

Montgomery-Ward bridge in C. Omnibus progression

Play Wikipedia:Media helpFile:Omnibus progression.mid

Omnibus progression.


3

Pachelbel's Canon

Play Wikipedia:Media helpFile:Pachelbel Canon bass line (quarter notes).mid

5

M

Play Wikipedia:Media helpFile:amezzo antico.mid

4

m

Play Wikipedia:Media helpFile:Gregory Walker progression in C.mid

3

M

4

M

Play Wikipedia:Media helpFile:Ragtime progression in C.mid

5

M

Play Wikipedia:Media helpFile:Rhythm changes in C.mid

?

M

3

M

Pachelbel's Canon. amezzo antico

amezzo antico. amezzo moderno

amezzo moderno in C. Pop-punk chord progression

Play Wikipedia:Media helpFile:I-V-vi-IV chord progression in C.mid

Pop-punk chord progression in C. Ragtime progression

Ragtime progression in C. Rhythm changes

Rhythm changes in C. Romanesca

Play Wikipedia:Media helpFile:Romanesca.mid

Romanesca. Sixteen-bar blues

Play Wikipedia:Media helpFile:Sixteen bar boogie-woogie blues in C.mid

3

M

Twelve-bar blues

Play Wikipedia:Media helpFile:Twelve bar boogie-woogie blues in C.mid

3

M

Twelve-bar blues in C.


4

Turnaround (music)

Play Wikipedia:Media helpFile:I-vi-ii-V turnaround in C.mid

4

M

3

M

I-vi7-ii-V7 turnaround in C. V-IV-I turnaround

Play Wikipedia:Media helpFile:V-IV-I turnaround in C.mid

V-IV-I turnaround in C.

50s progression 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).

50s progression in C, ending with C ( Play Wikipedia:Media helpFile:50s progression in C.mid)

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 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.

50s progression in C variation, ending with C ( Play Wikipedia:Media helpFile:50s progression in C variation.mid)

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]

50s progression

6

Sources [1] [2] [3] [4] [5] [6]

" Eternal Flame (http:/ / www. musicnotes. com/ sheetmusic/ mtdFPE. asp?ppn=MN0053691& )", MusicNotes.com " True Blue (http:/ / www. musicnotes. com/ sheetmusic/ mtd. asp?ppn=MN0060333& )", MusicNotes.com. " What About Now (http:/ / www. musicnotes. com/ sheetmusic/ mtdFPE. asp?ppn=MN0064708& )", MusicNotes.com. " Beautiful Girls (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0059262& )", MusicNotes.com. " Baby (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0082601& )", MusicNotes.com. " (http:/ / www. youtube. com/ watch?v=F4ALd-Top2A)"

Andalusian cadence 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 progression

explanation

see

Chord

The Andalusian cadence may be notated vi - V IV - III (if in a major key) or i – ♭VII – ♭VI – V Andalusian cadences are common in Flamenco music. in a minor key. This ♭VII note and chord is called [4] the subtonic. 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 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

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

Andalusian cadence 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 amezzo antico; i – ♭VII – i – V. The use of the ♭VI chord may suggest a more recent origin than the amezzo 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 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 [11] Andalusian cadence in E Phrygian Play Wikipedia:Media helpFile:Simple the Andalusian cadence), explanations Andalusian cadence.mid. 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.

7

Andalusian cadence 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".)

8

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).

Andalusian cadence

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

10


11

Backdoor progression 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]

"'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 [1] progression IV in C.mid.

Backdoor progression to iii, with I in place of iii: ♯ivø7-VII7(♭9)-Imaj9 Play Wikipedia:Media helpFile:Backdoor progression to iii.mid.

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.


12

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.".

♯IIo7 as dominant substitute Play Wikipedia:Media helpFile:Sharp IIdim7 as dominant substitute.mid.

[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 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] Bird Blues progression in B♭ Play Wikipedia:Media helpFile:Bird Blues in Bb.mid.

Structure The blues progression, in C, is as follows: | C | F | G

| C | F | F

| C | C | C

| C | C | C

| C7 | C7 | C7

| C7 | Em7 | D7

| | ||

The jazz blues, in C, is as follows:[3] | C7 | F7 | Dm7

| F7 | F7 | G7

A7

A7 G7

| | ||

The Bird Blues progression, in C, is as follows:[4] Popular music symbols | CMaj7 | F7 | Dmin7

| Bmin7b5 / E7 | Amin7 / D7 | Fmin7 / Bb7 | Emin7 / A7 | G7 | CMaj7 / A7

| Gmin7 / C7 | Ebmin7 / Ab7 | Dmin7 / G7

| | ||

Roman numerals | I | IV7 | ii

| viiø / III7 | iv / bVII7 | V7

| vi / II7 | iii / VI7 | I / VI7

| v | biii | ii

/ I7 | / bVI7 | / 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 C: | I F: | I7 C: | ii

13 Amin: G(min): F: | ii / V | ii / V | ii / V | Eb: D: Db(min): | subii / subV | subii / subV | subii / subV | | 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] [2] [3] [4]

Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p.182. ISBN 0-7866-7236-6. Umble, Jay (2011). Mbgu Jazz Curriculum: Payin Your Dues with the Blues, p.62. ISBN 9781610653145. Jacobs, Sid (2011). The Changes, p.12. ISBN 9781610651684. Baerman, Noah (1998). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, p.63. ISBN 0-88284-911-5.

Circle progression 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):

[1] Submediant in chain of fifths 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.

Circle progression

14

[2] vi-ii-V-I in Bach's WTC I, Prelude in F♯ Major. Play Wikipedia:Media helpFile:Bach - WTC I, Prelude in F-sharp Major vi-ii-V-I.mid

[4]

Full circle progression in C major

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 excerpt: I-IV-V-I Wikipedia:Media helpFile:Progression en cercle I IV V I.ogg

Circle progression

15

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

vi-ii-V-I in Mozart's Sonata, K. 545 Play Wikipedia:Media helpFile:Mozart - Sonata, K.545.mid.

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). progression.mid

Play Wikipedia:Media helpFile:Jazz minor scale diatonic chord

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. [5] Arnold, Bruce E. (2001). Music Theory Workbook for Guitar: Scale Construction, p.12. ISBN 978-1-890944-53-7.

Coltrane changes

16

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. 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):

SeeChord

[4]

chart

| * | | * | | * | | * | || | 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


Coltrane substitution The Coltrane substitution, Coltrane changes, or "'Countdown' formula" is as follows. Given the ii-V-I turnaround lasting four measures:

ii-V7-I progression in C lasting only two measures Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid.

ii7 | V7 | I | I || Dm7 | G7 | C | C || with the dominant chord (V7) preceding the tonic (I). One substitutes two chords for each of the first three:

SeeChord chart of a Coltrane substitution.

ii7 | | V7 | I || Dm7 Eb7 | Ab B7 | E G7 | C || [7] m2 P4 m3 P4 m3 P4 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

Coltrane changes

18

This also may begin on C, as on "Giant Steps", giving:

Four measure ii-V-I progression in C with Coltrane substitution helpFile:Coltrane changes.mid.

C

Eb7 | Ab B7 | E G7 | C P4 m3 P4 m3 P4

Play Wikipedia:Media

||

m3

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


"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 | Em7

| V | A7

| I | DM7

| I | DM7

| ii | Dm7

| V | G7

| I | CM7

| I | 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*

| Em7 F7 | BbM7 Db7 | GbM7 A7 | DM7

SeeChord chart of "Countdown".

| ii

| *

| *

V

| I*

| Dm7 Eb7 | AbM7 B7 | EM7 G7 | CM7

|| ||[citation

needed]

Coltrane changes

20 Play this "Countdown" excerpt chord progression


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

| BM7* D7 | GM7* Bb7 | EbM7*

D7 | GM7* Bb7 | EbM7* F#7 | BM7*

| Am7

| I

Coltrane Substitution Cycle| |[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

| Fm7 Bb7 | EbM7* | Am7 D7 | GM7* | C#m7 F#7 | BM7* | Fm7 Bb7 | EbM7* | C#m7 F#7 :||

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

SeeChord chart of "Giant Steps".

needed]

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.

Coltrane changes

22

References [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] 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 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.

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 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

Eight-bar blues

24

(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] [2] [3] [4] [5] [6] [7] [8]

Riker, Wayne (1994). Complete Blues Guitar Method: Mastering Blues Guitar, p.91. ISBN 978-0-7390-0408-1. Barrett, David (2000). Blues Harmonica Jam Tracks & Soloing Concepts #1, p.8. ISBN 978-0-7866-5653-0. James, Steve (2001). Inside Blues Guitar, p.18. ISBN 978-1-890490-36-2. George Heaps-Nelson, Barbara Koehler (1989). You Can Teach Yourself Harmonica, p.87. ISBN 978-0-87166-264-4. Alfred Publishing (2002). Beginning Delta Blues Guitar, p.41. ISBN 978-0-7390-3006-6. David Barrett, John Garcia (2008). Improvising Blues Harmonica, p.50. ISBN 978-0-7866-7321-6. Barrett, David (2006). Blues Harmonica Play-along Trax, p.16. ISBN 978-0-7866-7393-3. Riker (1994), p.92.

Folia La Folía (Spanish), also folies d'Espagne (French), Follies of Spain (English) or Follia (Italian), is one of the oldest ed[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.

"The 'later' folia", a harmonic-metric scheme consisting of two eight-bar phrases, was first [1] used in approximately 1670 Play Wikipedia:Media helpFile:Later Folia 2.mid.

History The epithet 'Folia' meanings in music.

has

several

• 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 , and "Faronel's Ground" in England).

[2]

Early folia

Play Wikipedia:Media helpFile:Early Folia.mid.

• "Early Folia": Recent research suggests that the origin of the Early folia variant Play Wikipedia:Media helpFile:Early Folia b.mid. 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 compositional-improvisational process which could generate these sequences of chords.[3]

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 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:

[6][7]

Later folia variant.

Dm A7 Dm C F C Dm

Play Wikipedia:Media helpFile:Later Folia b.mid

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, sco 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.

Folia

26

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)


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] 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/ List_of_compositions_with_the_theme_"La_Follia")

Ii-V-I turnaround

27

Ii-V-I turnaround 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]

ii-V7-I progression in C


Bach - Well-Tempered Clavier, Book I, Prelude I, opening: I-ii

-V

[1]

-I.

Play Wikipedia:Media helpFile:Bach - Well-Tempered Clavier, Book I, Prelude I, opening.mid

Jazz ii-V-I progressions are extremely common in jazz. They serve two primary functions, [2] ii-V-I in Bach's WTC I, Prelude in D Major. Play Wikipedia:Media which are often intertwined: to temporarily helpFile:Bach - WTC I, Prelude in D Major ii-V-I.mid imply ing 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

Ii-V-I turnaround

28

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 [6] falling a semitone to become the 3rd while the 3rd becomes the 7th of that chord. 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 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

vi-ii-V-I in C Play Wikipedia:Media helpFile:Vi-ii-V-I in C.mid.

needed]

Minor key 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]

[7] ii-V7-I progression in C minor: Dm7♭5-G7-Cm Play Wikipedia:Media helpFile:Ii-V-I turnaround in C minor.mid.

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.

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.

[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] 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

30

Irregular resolution 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]

Irregular resolution Type I Play Wikipedia:Media helpFile:Irregular resolution I.mid. Two common tones, two note moves by half step motion.

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.

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.

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♭).

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.

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 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".

Montgomery-Ward bridge in C Play Wikipedia:Media helpFile:Montgomery-Ward bridge in C.mid.

Eight bars:

Montgomery-Ward bridge with ii-V's in C Play Wikipedia:Media helpFile:Montgomery-Ward bridge with ii-V's in C.mid.

Vm7

| I7

| IV

| IV

| VIm7 | II7

| IIm7 | V7

Play Wikipedia:Media helpFile:Montgomery-Ward bridge eight bar in C.mid

References

Omnibus progression

Omnibus progression The omnibus progression in music is a chord progression characterized by chromatic lines moving in opposite directions.[1] The progression has its origins in the various Baroque Four-part omnibus progression in G. Play Wikipedia:Media helpFile:Omnibus harmonizations of the descending progression.mid Major chords are indicated by CAPITAL and minor chords by lower chromatic fourth in the bass ostinato case letters. The bass line descends chromatically for an octave, whereas the upper voices pattern of acaglia, known as the are alternately oblique (maintaining a note) or move in ascending chromatic steps. "lament bass".[2] However, in its fullest form the omnibus progression involves a descent in the bass which traverses a whole octave and includes every note of the chromatic scale. It may also include one or more chromatic ascending tetrachords in the soprano, tenor and alto. They are also known as "chromatic wedge progressions", in reference to their wedge-like appearance in score.[3] The origin of the term "omnibus" (Latin: "for all") to describe such a sequence is unclear, but it is of note that the chord progression encomes all of the notes in the chromatic scale.

A simple example The following example is in C major. The lowest part is a "lament bass" that descends from the tonic to the dominant using chromatic ing tones before returning at the end up to the tonic in a perfect cadence. The upper voice moves in the opposite direction from the dominant note up to the tonic. The chord names are given, followed where necessary by the inversion in figured bass. For example, 'Cm(6/4)' refers to a C minor triad in second inversion.

| C | G7(6/5) | Bb7 | Dm(6/4) | Bb7(4/2) | G7 | C | A more extended treatment of this version of the omnibus could be: | C | G7(6/5) | Bb7 | Dm(6/4)| Bb7(4/2)| G7 | Bm(6/4)| G7(4/2)| | E7 | G#m(6/4)| E7(4/2)| C#7 | Fm(6/4) | C#7(4/2)| Bb7 | Dm(6/4)| Bb7(4/2) | G7 | C | For the purposes of composition, the pattern may be halted at any point, and in so doing may facilitate modulation to any desired key.

Dominant prolongation Modern theorists such as Telesco explain how small sections of omnibus progression (signified in example 1 by brackets around groups of chords) can be viewed as an instance of dominant prolongation achieved through voice exchange. Example 2 (above) is effectively a prolongation of the dominant seventh chord G7 which utilises chromatic voice movement. The bass voice descends chromatically while the upper voice ascends chromatically, and the inner voices remain stationary on the notes of D and F. Eventually the chromatic movement results in a new

32

Omnibus progression

33

inversion of the dominant seventh chord G7, resolving to the tonic chord C.

Examples Examples from the classical reportoire include Schubert's Piano Sonata in A minor, Op. 42, first movement, mm. 32-39, Brahms' Opus 116, No. 3, and many pieces by Tchaikovsky such as the first movement of the Pathetique Symphony.[citation needed]

References [1] Yellin, Victor Fell. The Omnibus Idea. Warren, MI: Harmonie Park Press, 1998. [2] Telesco, Paula. "Enharmonicism and the Omnibus Progression in Classical-Era Music." Music Theory Spectrum, Vol. 20, No. 2. (Autumn, 1998), pp. 242-279. [3] Gauldin, Robert. "The Theory and Practice of Chromatic Wedge Progressions in Romantic Music." Music Theory Spectrum, Vol. 26, No. 1. (Spring, 2004), pp. 1-22.

Further reading • Kostka, Stefan, and Dorothy Payne. Tonal Harmony. 6th edition. New York: McGraw-Hill, 2009. (Pp. 476-480) • Laitz, Steven G. The Complete Musician. 2nd edition. New York: Oxford University Press, 2008. (Pp. 845-846)

External links • Examples of the Omnibus, compiled by Prof. Timothy Cutler (http://musictheoryexamples.com/18VE.html)

Pachelbel's Canon Canon and Gigue in D Performed and realized on synthesizers by Jeffrey Hall.


Pachelbel's Canon is the name commonly given to a canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358). It is his most famous composition. It was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919 the piece became extremely popular. The piece was particularly prevalent in the pop charts of the 1990s, being sampled and appropriated in numerous commercial hits such as Coolio's "C U When U Get There" and Green Day's "Basket Case".[1] It is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as 'Air on the G String'. Although a true canon at the unison in three parts, it also has elements of a chaconne. It has been frequently arranged and transcribed for many different media.

Pachelbel's Canon

34

History In his lifetime, Pachelbel was renowned for his chamber works,[citation needed] but most of them were lost. Only Musikalische Ergötzung—a collection of partitas published during Pachelbel's lifetime—is known, apart from a few isolated pieces in manuscripts. The Canon and Gigue in D major is one such piece. A single 19th-century manuscript copy of them survives, Mus.MS 16481/8 in the Berlin State Library. It contains two more chamber suites. Another copy, previously in Hochschule der Künste in Berlin, is now lost.[2] The circumstances of the piece's composition are wholly unknown. One writer hypothesized that the Canon may have been composed for Johann Christoph Bach's wedding, on 23 October 1694, which Pachelbel attended. Johann Ambrosius Bach, Pachelbel, and other friends and family provided music for the occasion.[3] Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a former pupil of Pachelbel. The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music.[4] His research was inspired and ed by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the Canon and Gigue in his Organum series.[5] However, that edition contained numerous articulation marks and dynamics not in the original score. Furthermore, Seiffert provided tempi he considered right for the piece, but that were not ed by later research. The Canon was first recorded in 1940 by Arthur Fiedler,[6] and a popular recording of the piece was made in 1968 by the Jean-François Paillard chamber orchestra.[7]

Analysis Pachelbel's Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel's piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.

Example 1. The first 9 measures of the Canon in D. The violins play a three-voice canon over the ground bass to provide the harmonic structure. Colors highlight the individual canonic entries.

The bass voice keeps repeating the same two-bar line throughout the piece. The common musical term for this is ostinato, or ground bass (see the example below).

Example 2. Ground bass of Pachelbel's Canon made of two measures and eight notes being the ground of the eight chords of the canon.

The eight chords suggested by the bass are represented in the table below:

Pachelbel's Canon

35

chord

scale degree roman numeral

1 D major

tonic

I

2 A major

dominant

V

3 B minor

submediant

vi

4 F♯ minor

mediant

iii

5 G major subdominant 6 D major

tonic

IV I

7 G major subdominant

IV

8 A major

V

dominant

In , Italy, and of the 17th century, some pieces built on ground bass were called chaconnes or acaglias; such ground-bass works sometimes incorporate some form of variation in the upper voices. While some writers consider each of the 28 statements of the ground bass a separate variation,[8] one scholar finds that Pachelbel's canon is constructed of just 12 variations, each four bars long, and describes them as follows: 1. quarter notes 2. eighth notes 3. sixteenth notes 4. leaping quarter notes, rest 5. 32nd-note pattern on scalar melody 6. staccato, eighth notes and rests 7. sixteenth note extensions of melody with upper neighbor notes 8. repetitive sixteenth note patterns 9. dotted rhythms 10. dotted rhythms and 16th-note patterns on upper neighbor notes 11. syncopated quarter and eighth notes rhythm 12. eighth-note octave leaps Pachelbel's Canon thus merges a strict polyphonic form (the canon) and a variation form (the chaconne, which itself is a mixture of ground bass composition and variations). Pachelbel skillfully constructs the variations to make them both pleasing and subtly undetectable.

Pop versions During the years of Baroque Pop in the second half of the 1960s, two bands incorporated the melody of Pachelbel's Canon in D in their songs, adding vocals and pop/rock arrangements. The first one was The Pop Tops in Spain with their international (mostly European) minor hit "Oh Lord! Why Lord?" (1968), and the second one was the Paris based band Aphrodite's Child (formed by later very popular Greek like Demis Roussos or Vangelis) with their European hit "Rain & Tears" (recorded in Paris, May 1968).[citation needed] In 2002, pop music producer Pete Waterman described Canon in D as "almost the godfather of pop music because we've all used that in our own ways for the past 30 years". He also said that Kylie Minogue's 1988 UK Number One hit single "I Should Be So Lucky", which Waterman co-wrote and co-produced, was based on Canon in D. Canon in D was rearranged neo-classical metal version "Canon Rock" by Taiwanese composer JerryC in 2005.

Pachelbel's Canon

Use in cinema In Werner Herzog's 1974 film, Jeder für sich und Gott gegen alle—Kaspar Ha, the Canon in D plays during the opening sequence.[9] Robert Redford's Oscar-winning 1980 film Ordinary People used Pachelbel's Canon as thematic and background music.[citation needed]

References [1] Chamings, Andrew Wallace. 2013. Canon in the 1990s: From Spiritualized to Coolio, Regurgitating Pachelbel's Canon (http:/ / drownedinsound. com/ in_depth/ 4146352-canon-in-the-1990s--from-spiritualized-to-coolio-regurgitating-pachelbels-canon) [2] Welter, Kathryn J. 1998. Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance, p. 363. Diss., Harvard University, Cambridge, Massachusetts. [3] Schulze, Hans-Joachim. Johann Christoph Bach (1671–1721) Organist and Schul Collega in Ohrdruf, Johann Sebastian Bachs erster Lehrer, in Bach Jahrbuch 71 (1985): 70 and footnote 79. [4] Gustav Beckmann, Johann Pachelbel als Kammerkomponist, Archiv für Musikwissenschaft 1 (1918–19): 267–74. The Canon is found on p. 271. [5] Perreault, Jean M. 2004. The Thematic Catalogue of the Musical Works of Johann Pachelbel, p. 32. Scarecrow Press, Lanham, Md. ISBN 0-8108-4970-4. [6] Daniel Guss, CD booklet to Pachelbel's Greatest Hit: The Ultimate Canon, BMG Classics (RCA Red Seal) [7] http:/ / www. discogs. com/ artist/ Orchestre+ De+ Chambre+ Jean-Fran%C3%A7ois+ Paillard [8] Ewald V. Nolte and John Butt, "Pachelbel: (1) Johann Pachelbel", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). ISBN 1-56159-239-0. [9] http:/ / oldrockinchair. wordpress. com/ 2013/ 07/ 21/ jeder-fur-sich-und-gott-gegen-alle-kaspar-ha-werner-herzog-1974/

External links • Pachelbel's Canon: Free scores at the International Music Score Library Project • Free typeset arrangements of Canon in D (http://cantorion.org/musicsearch/title/Canon in D/), from Cantorion. • Midi-files, videos, sheet resources, a discussion board and a collection of modern songs inspired by Pachelbel's Canon, from Johann Pachelbel's Canon (http://www.pachelbelcanon.com). • Video (http://www.youtube.com/watch?v=ipoyCQ5vHZM) of Pachelbel's Canon in D-major with sheet music, by TheGreatRepertoire. • Video (http://www.youtube.com/watch?v=JvNQLJ1_HQ0&fmt=18) of a historical performance of the Canon on original instruments by the ensemble Voices of Music using baroque instruments, bows, and playing techniques. • Video (http://www.youtube.com/watch?v=vx5TmP6WhZI) of Canon in D as played by the Apollo Symphony Orchestra. • Harmony and voice leading of the ›Pachelbelsequenz‹ (http://www.musiktheorie-aktuell.de/tutorials/ parallelismus.aspx). (German tutorial) www.musiktheorie-aktuell.de (http://www.musiktheorie-aktuell.de/). • Rock/neo-classical arrangement video (http://www.youtube.com/watch?v=by8oyJztzwo) of Pachelbel's Canon in D-major by Taiwanese musician and composer JerryC.

36

amezzo antico

37

amezzo antico The amezzo antico was a ground bass or chord progression popular during the Italian Renaissance and known throughout Europe in the 16th century.[2] The progression is a variant of the double tonic: its major mode variant is known as the amezzo moderno. The sequence consists of two phrases as follows: (For an explanation of this notation see Chord progression)

amezzo antico

Play Wikipedia:Media helpFile:amezzo antico.mid

[1] amezzo and Romanesca melodic formula Play Wikipedia:Media helpFile:amezzo and Romanesca.mid.

i

VII i

V

III VII i V i

In the key of A minor this gives: Am G Am C

E

G Am E Am

The romanesca is a variant of the amezzo antico where the first chord is III (e.g., a C major chord in A minor). A famous example is "Greensleeves". The amezzo antico chord changes are found, knowingly or not, in modern popular music culture: Carrie Underwood's debut album Some Hearts has two examples, "Before He Cheats" (a big U.S. hit in 2006) and "Starts with Goodbye". "Stairway to Heaven" by Led Zeppelin is essentially a variant of the progression.

Sources [1] Apel, Willi (1997). The History of Keyboard Music to 1700, p.263. Trans. Tischler, Hans. ISBN 0-253-21141-7. [2] van der Merwe, Peter. 1989. Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, p.207. Oxford: Clarendon Press. ISBN 0-19-316121-4.

amezzo moderno

38

amezzo moderno The Gregory Walker or amezzo moderno ("modern half step"; also quadran, quadrant, or quadro pavan) was "one of the most popular harmonic formulae in the Renaissance period, divid[ing] into two complementary strains thus:" 1) I IV

I

V

2) I IV I-V I

(Middleton 1990, 117). For example, in C major the progression is as follows: C F C G C F C-G C

Gregory Walker root progression Play Wikipedia:Media helpFile:Gregory Walker progression in C.mid. (Caution: Keeping all chords in root position produces parallel fifths (see parallel harmony), which are prohibited by traditional voice-leading rules. The following files may be more suitable for use in composition: progression with tonic (I) chord in root position Wikipedia:Media helpFile:Gwroot.mid, tonic in first inversion Wikipedia:Media helpFile:Gw1stinv.mid, tonic in second inversion Wikipedia:Media helpFile:Gw2ndinv.mid.)

The progression or ground bass, the major mode variation of the amezzo antico, originated in Italian and French dance music during the first half of the 16th century, where it was often used with a contrasting progression or section known as ripresi. Though one of Thomas Morley's characters in Plaine and Easie Introduction to Practicall Musicke denigrates the Gregory Walker, comparing unskilled singing to its sound (Morley 1597, 120), it was popular in both pop/popular/folk and classical musics through 1700. Its popularity was revived in the mid 19th century, and the American variant (below) evolved into the twelve bar blues (van der Merwe 1989, 198–201).

amezzo moderno

39

Examples Listed in van der Merwe (1989, 198–201): • several in The Fitzwilliam Virginal Book • "Up and Ware Them A Willie" • "Jimmie Rose" • "Darling Nelly Gray" Play Wikipedia:Media helpFile:Darling Nelly Gray page 1.mid • "Wreck of the Old 97" • Woody Guthrie's "There is a House in This Old Town" • Irving Berlin's "Alexander's Ragtime Band" • The Rolling Stones' "Honky Tonk Women" (1969) • Carole King's "You've Got a Friend" (1971) Listed in Helms, Ilmbrecht, and Dieckelmann (1954, Wikipedia:Citing sources): • Hans Neusidler's "Gassenhawer" (Nuremberg, 1536) • "Oxstedter Mühle" (folk dance from Lower Saxony) (B section)

"Darling Nelly Gray", page one Play Wikipedia:Media helpFile:Darling Nelly Gray page 1.mid.

• Diego Ortiz' Recercada Prima / Segunda / Tercera sobre el amezzo Moderno (three-part didactic composition in Tratado de Glosas sobre cláusulas y Otros Generos de Puntos en la Música de Violones, 1553). (Readers of Spanish may benefit from the Spanish-language Wikipedia's more extensive treatment of Diego Ortiz and of the Tratado de Glosas.) Others: • Iron & Wine's "A History of Lovers" (Iron e Wine 2005, Wikipedia:Citing sources) (verses; chorus and interludes follow ripresi IV-I-IV-V progression)

American Gregory Walker The American Gregory Walker, popular in parlour music, is a variation in which the subdominant (IV) chords become the progression IV-I (van der Merwe 1989, 201-202). 1) I IV-I

I

V

2) I IV-I I-V I

(Middleton 1990, 117). For example, in C major this variation is as follows: C F-C C G C F-C C-G C

American Gregory Walker root progression Play Wikipedia:Media helpFile:American Gregory Walker progression in C.mid.

amezzo moderno

Examples Listed in van der Merwe (1989, 201–202): • • • • •

"Jesse James" "The Titanic" "My Little Old Sod Shanty" "Cottonfields" Gus Cannon's "Walk Right In" (1929)

Other variations On original progression • Second strain's first I becomes I-I7 (for a stronger "lead-in" to the IV): • "Gathering Flowers From the Hillside" (Carter Family, 1935) • Second strain progresses from IV directly to a full measure of V, displacing its second (half-measure) I: • "Kiss The Girl" (Alan Menken and Howard Ashman, 1989) from Disney's The Little Mermaid (chorus; verses follow standard twelve-bar pattern) • "Three Little Speckled Frogs" (traditional children's song) • Bluegrass variation: First strain's change from I to IV and back is omitted: • "She'll Be Comin' 'Round the Mountain" (traditional) text at Anon [n.d.] [1]; melody at http://www.ingeb. org/songs/cominrou.mid [2] (file composed specifically for dissemination via ingeb.org website pursuant to site's policy imposing non-commercial and share-alike restrictions but not attribution requirement)[citation needed]

The Bluegrass variation frequently occurs in conjunction with the I-I7 "lead-in" and/or the direct IV-to-V transition listed above. The resulting progression is ||| I | I | I | V || I(-I7) | IV | (I-)V | I ||| ; examples include: • "Free Little Bird" (David Holt and Doc and Merle Watson; not to be confused with Lynyrd Skynyrd's "Free Bird") (Holt Watson and Watson 2009). • "Yakety Sax" (The Benny Hill Show theme) by Boots Randolph and James Q. "Spider" Rich • Vamp/ostinato of first strain until closing line of song: • "Mbube" (Solomon Linda, 1939), imported into English as "Wimoweh [uyimbube]"/"The Lion Sleeps Tonight"

On American variant • IV-I is reversed, becoming I-IV or I7-IV: • "Tennessee Waltz" (Stewart and King 1947)Wikipedia:Citing sources#What information to include (verse and second strain of chorus) • Second I in second strain becomes II7, yielding second-strain progression of || I | IV-II7 | I-V | I ||| : • "Truck Drivin' Song" ("Weird Al" Yankovic, released 1999) (A section; also shifts rhythm of two final bars from | I-V | I ||| to | I | V-I ||| )

40

amezzo moderno

Sources • Anon. [n.d.]. “Coming 'round the Mountain [1]”. Song text, at Leader in Lieder mit Midi Melodies [3] website. (Accessed 22 May 2010) • Carter Family. 1935. "Gathering Flowers From The Hillside [4]" or [5]. Columbia 37636. Recorded May 7, 1935. • Helms, Anna, Otto Ilmbrecht, and Heinrich Dieckelmann (1954). Die Tanzkette, Frankfurt am Main: Hoffmeister Verlag. • Holt, David, Doc Watson, and Merle Watson. 2009. "Free Little Bird [6]". Piney Grove Ramblers: Bluegrass for the People website. (Accessed 22 May 2010) • Iron e Wine ([2005]). A History of Lovers [7] CifrasFX website. (Accessed 22 May 2010). • Middleton, Richard (1990). Studying Popular Music. Milton Keynes and Philadelphia: Open University Press. ISBN 0-335-15276-7 (cloth); ISBN 0-335-15275-9 (pbk). Reprinted 2002. • Morley, Thomas (1597). A Plaine and Easie Introduction to Practicall Musicke [8]. London: Peter Short. • van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.

External links • Musica Viva: The Encyclopedia of music: amezzo [9]

References [1] [2] [3] [4] [5] [6] [7] [8] [9]

http:/ / www. ingeb. org/ songs/ cominrou. html http:/ / www. ingeb. org/ songs/ cominrou. mid http:/ / www. ingeb. org/ http:/ / honkingduck. com/ 78s/ listen. php?s=20202B http:/ / www. traditionalmusic. co. uk/ carter-family-songs/ Gathering-flowers-from-the-hillside. htm http:/ / www. pgramblers. com/ Jam%20Tunes/ Jam%20Tunes%20-%20D%20to%20G/ files/ Free%20Little%20Bird. pdf http:/ / www. cifrasfx. com. br/ iron-e-wine/ cifras/ history-of-lovers/ http:/ / www. chmtl. indiana. edu/ tme/ 16th/ MOR1597C_TEXT. html http:/ / www. musicaviva. com/ encyclopedia/ display. tpl?phrase=amezzo

41

I-V-vi-IV progression

42

I-V-vi-IV progression The I-V-vi-IV progression is a common chord progression popular across several genres of music. It involves the I, V, vi, and IV chords; for example, in the key of C major, this would be: C-G-Am-F.[1] The V is often replaced by iii ("Price Tag"), III ("If We Ever Meet Again" chorus), ii ("Halo"), I ("Doesn't Mean Anything"), bVII ("Firework" first verse), II ("Try Too Hard" by P!nk), IV ("I Gotta Feeling").

I-V-vi-IV chord progression in C major Play Wikipedia:Media helpFile:I-V-vi-IV chord progression in C.mid.

A 2009 recording by the comedy group The Axis of Awesome, their "Four Chord Song", in E major (thus using the chords E major, B major, C# minor, and A major), is a widely viewed clip on YouTube.

Variations It can also be used in the form vi-IV-I-V, which was dubbed the sensitive female chord progression by Boston Globe Columnist Marc Hirsh.[2] In C major this would be Am-F-C-G (Am-F-C-G/B voicing is very common in modern pop music). Hirsh first noticed the chord progression in the song "One of Us" by Joan Osborne.[3] He claims he then began to notice the chord progression in many other songs. He named the progression because he claimed it was used by many of the Lilith Fair in the late 1990s. It's also used as IV-I-V-vi in songs such as "Umbrella" by Rihanna, and "Down" by Jay Sean[4] or as V-vi-IV-I as in "Wannabe" or "Angels". Both are a variant of the "doo-wop" I-vi-IV-V progression, familiar from songs such as "Earth Angel" and "Donna".

Examples Examples of use of the I-V-vi-IV progression include: • Alphaville – "Forever Young" • Green Day – "When I Come Around" • The Rolling Stones – "Beast of Burden" • The Beatles – "Let It Be" • Blink 182 – "Dammit" and "Feeling This" • The All-American Rejects – "Night Drive" from Move Along • Adele – "Someone Like You" (chorus)[5] • James Blunt – "You're Beautiful" • • • • •

Axis of Awesome – "Four Chord Song" Kelly Clarkson and Jason Aldean – "Don't You Wanna Stay"[6] P!nk – "Perfect"[7] Jay Sean – "Down" Mika – "Happy Ending"[8]

Songs using the vi-IV-I-V progression: • Kelly Clarkson – "Stronger (What Doesn't Kill You)"[9] • Lady Gaga – "Poker Face" • The Offspring – "Self Esteem"

"Sensitive female chord progression" in C major Play Wikipedia:Media helpFile:Vi-IV-I-V chord progression in C.mid.

I-V-vi-IV progression • • • • • • • • • • • • • • • • •

The Offspring – "The Kids Aren't Alright" Train – "Drive By" Eagle Eye Cherry – "Save Tonight"[10] Nelly – "Just a Dream"[11] Flo-Rida – "Whistle" Beyonce – "If I Were a Boy" Eminem – "Not Afraid" Justin Bieber and Sean Kingston – "Eenie Meenie" Bon Jovi – "It's My Life" Jason Derulo – "In My Head" Bruno Mars – "Grenade" Eminem and Rihanna – "Love the Way You Lie" Jessie J – "Nobody's Perfect" Guy Sebastian and Lupe Fiasco – "Battle Scars" The Cranberries – "Zombie" Rednex – "Wish You Were Here" Toto – "Africa"

• • • •

Akon and The Lonely Island – "I Just Had Sex" Justin Bieber – "Love Me" Nicki Minaj – "Marilyn Monroe"[12] Don Omar – "Danza Kuduro"

References [1] Bennett, Dan (2008). The Total Rock Bassist, p. 63. ISBN 978-0739052693 [2] Hirsh, Marc. "Striking a Chord" (http:/ / web. archive. org/ web/ 20100113080032/ http:/ / www. boston. com/ ae/ music/ articles/ 2008/ 12/ 31/ striking_a_chord/ ), The Boston Globe, December 31, 2008. [3] Rundown 3/4: "Sensitive Female Chord Progression" (http:/ / wayback. archive. org/ web/ 20100715000000*/ http:/ / www. hereandnow. org/ shows/ 2009/ 03/ rundown-34/ ), Here and Now, March 4, 2009, wbur.org. [4] " Down (http:/ / www. musicnotes. com/ sheetmusic/ mtdFPE. asp?ppn=MN0106385& )", MusicNotes.com. [5] " Someone Like You (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0090054& )", MusicNotes.com. [6] " Don't You Wanna Stay (http:/ / www. musicnotes. com/ sheetmusic/ mtd. asp?ppn=MN0090209)", MusicNotes.com. [7] " Perfect (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0090210)", MusicNotes.com. [8] " Happy Ending (http:/ / www. musicnotes. com/ sheetmusic/ mtdFPE. asp?ppn=MN0086896)", MusicNotes.com. Chords marked. [9] " Stronger (What Doesn't Kill You) (http:/ / www. musicnotes. com/ sheetmusic/ mtdFPE. asp?ppn=MN0099948& )", MusicNotes.com. Chords marked. [10] " Save Tonight (http:/ / www. musicnotes. com/ sheetmusic/ scorchVPE. asp?ppn=SC0252676)", MusicNotes.com. [11] " Just a Dream (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0086614)", MusicNotes.com. [12] " Marilyn Monroe (http:/ / www. musicnotes. com/ sheetmusic/ mtdVPE. asp?ppn=MN0104413& )", MusicNotes.com.

Further reading • Scott, Richard J. (2003). Chord Progressions for Songwriters. iUniverse. pp. 216–218. ISBN 0-595-26384-4.

External links • Axis of Awesome - 4 Four Chord Song (with song titles) (https://www.youtube.com/watch?v=5pidokakU4I) on YouTube

43

Ragtime progression

44

Ragtime progression The ragtime progression[3] is a chord progression characterized by a chain of secondary dominants, named for its popularity in the ragtime genre, despite being much older.[4] Also typical of parlour music, its use originated in classical music and later spread to American folk music.[5] 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":[6]

Ragtime progression includes chains of secondary dominants Play Wikipedia:Media helpFile:Ragtime progression in C.mid.

Progression (E7-A7-D7-G7) Play Wikipedia:Media helpFile:Jazz standard bridge.mid [1] which often appears in the bridge of jazz standards. The V7/V/V/V - V7/V/V - V7/V V7 [or V7/vi - V7/ii - V7/V - V7] leads back to C major (I) Play Wikipedia:Media helpFile:Ragtime progression in C.mid but is itself indefinite in key.

Ragtime progression's origin in voice leading: II itself is the product of a 5-6 replacement over IV in IV-V-I. "Such a replacement originates purely in voice-leading, but," the [2] chord above IV (in C: F-A-D) is a first inversion II chord. Play Wikipedia:Media helpFile:Ragtime progression voice leading.mid

Ragtime progression

45

Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.

III7/♯ VI7/♯ II7/♯ V7 I

Or: (V7/V/V/V) V7/V/V V7/V V7 I

Or:[7][8] (III7) VI7 II7 V7 I

In C major this is: (E7) A7 D7 G7 C

Most commonly found in its four chord version (thus the parentheses). Play Wikipedia:Media helpFile:Ragtime progression in C four chords.mid This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi-ii-V7-I, in C: Am-Dm-G7-C.[9][10] Play Wikipedia:Media helpFile:Standard progression in C.mid The three chord version (II-V-I) is, "related to the cadential progression IV-V-I...in which the V is tonicized and stabilized by means of II with a raised third." The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fifths. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic. (Major pentatonic on C: CDEGA) Contrastingly, Averill argues that the progression was used because of the potential if offered for chromatic pitch areas.[11] Variations include the addition of minor seventh chords before the dominant seventh chords, creating overlapping temporary ii-V-I relationships[12] through ii-V-I substitution: Bm7-E7 Em7-A7 Am7-D7 Dm7-G7 C

since Bm7-E7-A is a ii-V-I progression, as is Em7-A7-D and so on. progression in C ii-V-I substitution.mid

Play Wikipedia:Media helpFile:Ragtime

Ragtime progression

46 Liebestraum No. 3 Performed by Martha Goldstein on an 1851 Erard piano


Examples of the use of the ragtime progression include the chorus of Howard & Emerson's "Hello! Ma Baby" (1899), the traditional "Keep On Truckin' Mama", Robert Johnson's "They're Red Hot" (1936), Arlo Guthrie's "Alice's Restaurant" (1967),[13] Bruce Channel's "Hey! Baby" (1962), The Rooftop Singers' "Walk Right In" (1963), James P. Johnson's "Charleston" (1923), Ray Henderson's "Five Foot Two, Eyes of Blue" (1925), Rev. Gary Davis's "Salty Dog",[14] Bernie and Pinkard's "Sweet Georgia Brown" (1925), the "Cujus animam" (mm.9-18) in Rossini's Stabat Mater, the beginning of Liszt's Liebesträume (1850), Bob Carleton's "Ja-Da" (1918),[15] and Sonny Rollins's "Doxy" (1954).

Sources [1] Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7. [2] Jonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6. [3] Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989). [4] Van der Merwe, Peter (2005). Roots of the Classical, p.496. ISBN 978-0-19-816647-4. [5] van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, p.321. Oxford: Clarendon Press. ISBN 0-19-316121-4. [6] Van der Merwe (2005), p.299. [7] Averill, Gage (2003). Four Parts, No Waiting, p.162. ISBN 978-0-19-511672-4. [8] Weissman, Dick (2005). Blues: The Basics, p.50. ISBN 978-0-415-97067-9. [9] Scott, Richard J. (2003). Chord Progressions for Songwriters, p.428. ISBN 978-0-595-26384-4. [10] Davis, Kenneth (2006). The Piano Professor Easy Piano Study, p.105. ISBN 978-1-4303-0334-3. Same quote but gives the progression in E instead of C. [11] Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony, p.162. ISBN 978-0-19-511672-4. [12] Boyd (1997), p.60. [13] Scott (2003), p.429 [14] Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. ISBN 978-0-8256-0152-1. [15] Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. ISBN 9780634011603. and Weissman, Dick (1085). Basic Chord Progressions: Handy Guide, p.28. ISBN 9780882844008.

Further reading • Averill, Gage (2003). Four Parts, No Waiting, p. 32. ISBN 978-0-19-511672-4.

External links • MoneyChords: "Ragtime Progressions" (http://www.angelfire.com/fl4/moneychords/ragtime.html) History

Rhythm changes

Rhythm changes In jazz and jazz harmony, "rhythm changes" refers to the chord progression occurring in George Gershwin's song "I Got Rhythm". This pattern, "one of the most common vehicles for improvisation,"[1] forms the basis of countless (usually uptempo) jazz compositions, was popular with swing-era musicians: It is found in "Shoeshine Boy" (Lester Young's 1936 breakout recording with Count Basie) and "Cotton Tail"[2] written by Duke Ellington in 1940, as well as Charlie Christian's "Seven Come Eleven",[3] Charlie Parker's "Salt Peanuts", and Thelonious Monk's "Rhythm-a-Ning", for instance. The earliest known use of rhythm changes was by Sidney Bechet in his September 15, 1932[4] recording of "Shag" with his "New Orleans Feetwarmers" group.[5]

History This progression's endurance in popularity is largely due to its extensive use by early bebop musicians. The chord changes began to be used in the 1930s, became extremely common in the '40s and '50s, and are now ubiquitous.[6] First, "I Got Rhythm" was by then already a popular jazz standard; second, by listening to the song and writing a new melody over its chord changes, thereby creating a composition of a type known as a contrafact, a jazz musician could claim copyright to the new melody rather than acknowledge Gershwin's inspiration and pay royalties to his estate. Today, mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".[7]

Application

Rhythm changes in B♭, as commonly used for improvisation (slashes indicate comping).[8]

47

Rhythm changes

48

Rhythm changes in B♭.[9]

Play Wikipedia:Media helpFile:Rhythm changes complete in B-flat Ellis.mid

The "rhythm changes" is a thirty-two-bar AABA form containing four eight measure sections.[10] In roman numeral shorthand, the original chords used in the "A" section are | I

vi | ii V

| I

vi | ii V

|

a two bar phrase (I−vi−ii−V) played twice, then | I

I7 | IV iv7 | I

V

| I

|

In a jazz setting the changes are usually played in the key of B♭ with various chord substitutions. Here is a typical form for the A section with various common substitutions: | Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Dm7 G7 | Cm7 F7 | | Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 | Bbmaj7 |[11] The "bridge" consists of a series of dominant sevenths that follow the circle of fifths (ragtime progression), sustained for two bars each and thus conveying the sense of a shifting key center: | III7 | II7

| |

+ +

| VI7 | V7

| |

+ +

| |

| D7 | C7

| |

+ +

| G7 | F7

| |

+ +

| |

This is known as the Sears Roebuck bridge.[12] The B section is then followed by the second 8 bars of A section | Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 | Bbmaj7 |

Rhythm changes

49

Variant versions of changes are legion due to substitutions: often the beboppers, for instance, would superimpose series of "two-fives" (ing sequences of minor-7th and dominant-7th chords) or other substitutions for interest or in order to discourage lesser musicians from sitting in on the bandstand. The B section may appear as follows: | Am7 | Gm7

| D7 | C7

| Dm7 | Cm7

| G7 | F7

| |

or it may be lifted out of this progression and used in the middle of another piece as follows: | vii7 | III7 | vi7 | II7

| iii7 | VI7 | ii7 | V7

| |

The component A and B sections of rhythm changes were also sometimes used for other tunes. For instance, Charlie Parker's "Scrapple from the Apple" and Duke Ellington's "Perdido" both use a different progression for the A section while using the Rhythm changes B section.[13] "Scrapple from the Apple" uses the chord changes of "Honeysuckle Rose" for the A section, but replaces the B section with "Rhythm"'s III7-VI7-II7-V7 bridge. Other tunes, such as Sonny Stitt's "The Eternal Triangle" and the theme from "The Muppet Show", use the A section of "Rhythm" but have a different bridge.[citation needed] Tadd Dameron's "Good Bait" uses the A section of the Rhythm changes but a different progression for the bridge.[14] Often in rhythm changes tunes, the B section is left free for improvisation even during the head (e.g. in Sonny Rollins' "Oleo").[citation needed]

Examples The following is a partial list of songs based on the rhythm changes: • • • • • • • • • • • • • • • •

"Anthropology" (Charlie Parker/Dizzy Gillespie) "Cotton Tail" (Duke Ellington) "Dexterity" (Charlie Parker) "Fingers" (Thad Jones)[citation needed] "Five Guys Named Mo" (Louis Jordan and His Tympany Five)[citation needed] "Lester Leaps In" (Lester Young) "Little Pixie II" (Thad Jones)[citation needed] "Meet the Flintstones" (Hoyt Curtin)[citation needed] "Moose the Mooche" (Charlie Parker) "Oleo" (Sonny Rollins) "Rhythm-A-Ning" (Thelonious Monk) "Steeplechase" (Charlie Parker) "Straighten Up and Fly Right" (Nat King Cole) "Tip Toe" (Thad Jones) "You, Me, and the Bottle Makes Three Tonight (Baby)" (Big Bad Voodoo Daddy)[citation needed] "Race To The Bridge" (Gordon Goodwin)[citation needed]

Rhythm changes

References [1] Dziuba, Mark (2003). The Big Book of Jazz Guitar Improvisation, p.140. ISBN 9780739031728. [2] "Duke Ellington the Man and His Music", p.20. Luvenia A. George. Music Educators Journal, Vol. 85, No. 6 (May, 1999), pp. 15-21. Published by: MENC: The National Association for Music Education. [3] Yaffe, David (2005). Fascinating Rhythm: Reading Jazz in American Writing, p.17. ISBN 0-691-12357-8. [4] Rust, Brian, Jazz and Ragtime Records, 1897-1942 (http:/ / www. mainspringpress. com/ book_rust. html), Mainspring Press (http:/ / www. mainspringpress. com/ ), 2008. [5] " Rhythm Changes (http:/ / www. angelfire. com/ fl4/ moneychords/ rhythmchanges. html)", MoneyChords (angelfire.com). Includes an extensive listing of tunes utilizing these chord changes. [6] Spitzer, Peter (2001). Jazz Theory Handbook, p.67. ISBN 0-7866-5328-0. [7] Thomas, John (2002). Voice Leading for Guitar: Moving Through the Changes, p.85. ISBN 0-634-01655-5. [8] Spitzer (2001), p.68. [9] Ellis, Herb and Holmes, Terry (1996). The Herb Ellis Jazz Guitar Method: Rhythm Shapes, p.4-5. ISBN 9781576233412. [10] Spitzer (2001), p.81. [11] Rawlins, Robert and Bahha, Nor Eddine (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p.128. ISBN 9780634086786. [12] Holbrook, Morris B. (2008). Playing the Changes on the Jazz Metaphor, p.104. ISBN 9781601981721. [13] Spitzer (2001), p.71. [14] Spitzer (2001), p.72.

Romanesca Romanesca was a song form popular from the mid 16th to early 17th centuries. It was most popular with Italian composers of the early Baroque period. It was also used by vihuelistas including Luis de Narváez, Alonso Mudarra, Enríquez de Valderrábano, and Diego Pisador. Originating in Spain as O guárdame las vacas ("O let us put the cows to pasture" or, "look after the cows for Romanesca. Play Wikipedia:Media helpFile:Romanesca.mid. me",[] occasionally known as Seculorum del primer tono in reference to the similarity between the a g f e d melody line and that of the chief termination, "Seculorum, Amen," of the first psalm tone), a romanesca is amezzo and Romanesca melodic formula on D Play Wikipedia:Media composed of a sequence of four chords helpFile:amezzo and Romanesca.mid. with a simple, repeating bass, which provide the groundwork for variations and improvisation. A famous example is the refrain of "Greensleeves" (whose verses follow the progression of the amezzo antico, of which the romanesca is an alteration). The romanesca is usually in triple meter and its soprano formula (melody) resembles that of the amezzo antico but a third higher.[1] The harmonic bass pattern of the romanesca is: III—VII—i—V—III—VII—i-V—i

50

Romanesca

51

Romanesca is also the name of two early music ensembles: one, La Romanesca, founded in 1978 in Australia by John Griffiths; and the other, Romanesca, founded in 1988 in England by Nigel North. Both specialize in the performance of early plucked string instruments.

Sources Further reading • Gerbino, Giuseppe. 2001. "Romanesca". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

Twelve-bar blues The 12-bar blues or blues changes is one of the most popular chord progressions in popular music. The blues progression has a distinctive form in lyrics and phrase and chord structure and duration. It is, at its most basic, based on the I-IV-V chords of a key.

Typical boogie woogie bassline on 12 bar blues progression in C, chord roots in red.

A 24-bar blues follows the same changes but each chord lasts for twice as many measures. The blues can be run in any key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".[1]

Structure

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186) Play A Wikipedia:Media helpFile:Standard 12-bar blues progression variations A.mid, B Wikipedia:Media helpFile:Twelve bar boogie-woogie blues in C.mid, C Wikipedia:Media helpFile:Standard 12-bar blues progression variations C.mid, D Wikipedia:Media helpFile:Standard 12-bar blues progression variations D.mid, and E Wikipedia:Media helpFile:Standard 12-bar blues progression variations E.mid as boogie woogie basslines. For example, Robert Johnson's "Sweet Home Chicago"(1936) uses A.

In the key of C, one basic blues progression, E from above, is as follows.[2]

Twelve-bar blues

52

Popular music symbols C C C C F F C C G G C C

or or or

C7 C7 C7 C7 F7 F7 C7 C7 G7 G7 C7 C7

Different notations Chord

Function Numerical

Roman numeral

Tonic

T

1

I

Subdominant

S

4

IV

Dominant

D

5

V

Chords may be also represented with a few different notation systems. A basic example of the progression would look like this, using T to indicate the tonic, S for the subdominant, and D for the dominant, and representing one chord. In Roman numeral analysis the tonic is called the I, the sub-dominant the IV, and the dominant the V. (These three chords are the basis of thousands more pop songs which thus often have a blues sound even without using the classical 12-bar form.) Using said notations, the chord progression outlined above can be represented as follows.[3]

T T T T

I

I

I I

S S T T

IV IV I I

D D T T

V

V I I

The first line takes four bars, as do the remaining two lines, for a total of twelve bars. However, the vocal or lead phrases, though they often come in threes, do not coincide with the above three lines or sections. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues.

Variations "W.C. Handy, 'the Father of the Blues,' codified this blues form to help musicians communicate chord changes."[4] However, many variations are possible. The length of sections may be varied to create eight-bar blues or sixteen-bar blues. In the original form, the dominant chord continued through the tenth bar; later on the V-IV-I-I "shuffle blues" pattern became standard in the third set of four bars:[5]

Twelve-bar blues

53

I

I

I I

IV IV I I V IV I I

Play Wikipedia:Media helpFile:Twelve bar boogie-woogie blues in C.mid The common quick to four or quick-change (quick four[6]) variation uses the subdominant chord in the second bar: I

IV I I

IV IV I I V IV I I

These variations are not mutually exclusive; the rules for generating them may be combined with one another (and/or with others not listed) to generate more complex variations. Seventh chords are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:

Using a seventh chord I

IV

I I7

IV IV7 I I7 V

IV

I V7

When the last bar contains the dominant, that bar may be called a turnaround, otherwise the last four measures is the blues turnaround.

Basic jazz blues progression I7

IV7 IVdim

I7

Vm7 I7

IV7

IVdim

I7

III7 VI7

IIm7

V7

III7 VI7

II7 V7

Play Wikipedia:Media helpFile:Basic jazz blues progression.mid In jazz, 12 bar blues progressions are expanded with moving substitutions and chordal variations. The cadence (or last four measures) uniquely leads to the root by perfect intervals of fourths. The Bebop blues:[7]

Bop V/ii cliche arpeggio, in second measure, upwards from third (C♯) to ninth (B♭): A7♭9(Spitzer 2001, 62) the dominant of Dm (ii in C major) Play Wikipedia:Media helpFile:Bop V of II cliche arpeggio.mid.

Twelve-bar blues

54

I7

IV7

IV7 ♯IVo7 ii7

V7

I7

v7 I7

I7

V/ii♭9

I7 V/ii♭9 ii7 V7

Play Wikipedia:Media helpFile:Bebop blues progression.mid This progression is similar to Charlie Parker's "Now's the Time", "Billie's Bounce", Sonny Rollins's "Tenor Madness", and many other bop tunes.[8] "It is a bop soloist's cliche to arpeggiate this chord [A7♭9 (V/ii = VI7♭9)] from the 3 up to the ♭9."[9]

Minor blues (Spitzer 2001, p. 63) i7

i7

i7 i7

iv7

iv7 i7 i7

♭VI7 V7 i7 i7

Play Wikipedia:Media helpFile:Minor blues progression.mid There are also minor 12-bar blues, such as John Coltrane's "Equinox" and "Mr. P.C.",[10] and "Why Don't You Do Right?", made famous by Lil Green with Big Bill Broonzy and then Peggy Lee with the Benny Goodman Orchestra.[citation needed] The chord on the fifth scale degree may be major, V7, or minor, v7, in which case it fits a dorian scale along with the minor i7 and iv7 chords, creating a modal feeling.[11] Major and minor can also be mixed together, a signature characteristic of the music of Charles Brown.[citation needed] While the blues is most often considered to be in sectional strophic form with a verse-chorus pattern, it may also be considered as an extension of the variational chaconne procedure. Van der Merwe (1989) considers it developed in part specifically from the American Gregory Walker though the conventional would consider hymns as the provider of the blues repeating chord progression or harmonic formulae.[12]

Lyrical patterns Most commonly, lyrics are in three lines, with the first two lines almost the same with slight differences in phrasing and interjections. I hate to see the evening sun go down, Yes, I hate to see that evening sun go down 'Cause it makes me think I'm on my last go 'round W. C. Handy's "St. Louis Blues" However, many songs exist that are written in the blues chord progression do not use the three-line form of lyrics. For instance, "I'm Moving On" has a verse in the first four bars and a chorus in the final eight bars: That big eight-wheeler rollin' down the track Means your true lovin' daddy ain't comin' back. I'm movin' on, I'll soon be gone You were flyin' too high for my little old sky So I'm movin' on. Hank Snow's "I'm Moving On" Here is an example showing the 12 bar blues pattern and how it fits with the lyrics of a given verse. One chord symbol is used per beat, with "-" representing the continuation of the previous chord:

Twelve-bar blues

55

I - - - IV - - - I - - - I7 - - Woke up this morning with an awful aching head IV - - - IV7 - - - I - - - I7 - - Woke up this morning with an awful aching head V - - V7 IV - - IV7 I - - - I - V V7 My new man had left me, just a room and an empty bed. From Bessie Smith's "Empty Bed Blues". Another example, "Johnny B. Goode" (written and first recorded by Chuck Berry), applies a "shuffle" or "light 'swing'" rhythm to one of the more common twelve-bar progressions:[citation needed] Line Pickup Measure 1

Measure 2

Measure 3

Measure 4

1

Deep

A (I)

down in Lou'siana, close to

A (I)

A (I)

back up in the woods among the

A (I)

evergreens,

2

There

D (IV)

stood a log cabin, made from

D (IV) earth and wood, where

A (I)

lived a country boy named

A (I)

Johnny B. Goode.

3

He

E (V)

never really learned to read or

E7 (V7)

A (I)

play a guitar just like a-

A (I)

-ringin' a bell.

New Orleans, way

write too well, but he could

Another progression, D-D7-G7-A7, appears in this collection (Axelsson & Strängliden 2007, 55).Wikipedia:Please clarify

"Twelve-bar" examples The 12-bar blues chord progression is the basis of thousands of songs, not only formally identified blues songs. The vast majority of boogie-woogie compositions are 12-bar blues, as are many early rock songs.[13] • • • • • • • • • • • •

Ray Charles' "What'd I Say" (1959) opens with the twelve bar blues. Other examples of twelve bar blues include: Muddy Waters' "Train Fare Blues" (1948) Howlin' Wolf's "Evil" (1954) Big Joe Turner's "Shake, Rattle, and Roll" (1954).[14] Duffy also uses the twelve bar blues progression in her song "Mercy" [citation needed] Gene Vincent's "Be Bop A Lula" Elvis Presley's "Hound Dog" Louis Prima's "Jump, Jive and Wail" Johnny Cash's "Folsom Prison Blues" Mungo Jerry's "In the Summertime" Little Richard's "Tutti Fruttii" White Stripes' "Ball and Biscuit"

Examples of altered or extended progressions include Herbie Hancock's "Watermelon Man".[15] You may also find many improvised versions of this piece, often seen in piano practise books, and as simple tunes to try out a musical instrument, such as this one, played in the C key. Play Wikipedia:Media helpFile:Improvised Twelve Bar Blues.mid

Twelve-bar blues

Analysis The twelve-bar blues, a chromatic chord progression, is a logical formula for blues music: without the dominant's major minor seventh chord (in C: G7), the sequence does not accord with the tonal "V-I" relationship. Instead, it would be based mostly on a plagal cadence—an IV-I change (in C: F-C). The key is fully verified with the V7 (G7) chord,[citation needed] but only after going over the subdominant (F) and tonic (C). Additionally, the chord progression meshes elements of major and minor. The major-minor (dominant) seventh chords used on each degree alone seem to fall in some grey area between the strong, content major chord and the somber, conflicted minor chord.[citation needed] The subdominant's seventh chord is of note here, because of its odd relationship with the tonic. In classical music, the dominant (major-minor) seventh chord on the tonic would almost certainly resolve elsewhere (rather than being resolved to), especially its subdominant (from C7: to F). While, at first it seems to resolve well to the subdominant, this is merely a tonicization (brief leave to another key), because of the earlier emphasis on the dominant seventh (C7), and because of the dominant seventh that appears on the subdominant, an element found in the Dorian mode. Traditionally, the seventh of the subdominant chord would not be flattened, as it would contradict the third of the tonic chord. This undermines the expected resolution and also questions whether the actual tonic is major or minor in quality: this seventh chord (F-A-C-E♭) resolves back to the tonic by resolving both up a step to (E♭-->E) (mediant), and down a step to from (F-->E) (leading tone); and down harmonically to I. When returning to the I7 chord, the major third sounds like a Picardy third resolution, and the minor seventh no longer seems to resolve to the sixth (B♭-->A, the third of IV; instead it seems like a blue note that adds a tense, funky, thick color to the tonic.

In jazz Jazz is considered to have some of its roots in the blues,[16] and the blues progression is one of several blues elements found in jazz such as blue notes, blues-like phrasing of melodies, and blues riffs. Tunes that utilize the jazz-blues harmony are fairly common in the jazz repertoire, especially from the bebop era. A twelve-bar jazz blues will usually feature a more sophisticated—or at any rate a different—treatment of the harmony than a traditional blues would, but the underlying features of the standard 12-bar blues progression remain discernible. One of the main ways the jazz musician accomplishes this is through the use of chord substitutions—a chord in the original progression is replaced by one or more chords which have the same general "sense" or function; in this case occurring especially in the turnaround (i.e., the last four bars). One well-known artist that sang this form of jazz was Billie Holiday, and almost all well known instrumental jazz musicians will have recorded at least one variation on this theme. The 12-bar blues form, in the commonly played key of B♭, often becomes: Bb7 / Eb7 / Bb7 / Bb7 / Eb7 / Edim7 / Bb7 / Dm7 - G7 / Cm7 / F7 / Dm7 - G7 / Cm7 - F7 // Transposed to the key of C: C7 / F7 / C7 / C7 / F7 / F♯dim7 / C7 / Em7 - A7 / Dm7 / G7 / Em7 - A7 / Dm7 - G7 // where each slash represents a new measure, in the jazz-blues. The significant changes include the Edim7, which creates movement, and the III-VI-II-V or I-VI-II-V turnaround, a jazz staple.

56

Twelve-bar blues

57

There is however no standard form of jazz blues, and several common variations. For example, the diminished chord in bar 6 is often omitted, and many turnarounds are possible. An example turnaround using chromatic chord movement could be: Dm7 / G7 / C7 - Eb7 / D7 - Db7 Another variation has the cycle concluding on the dominant chord as in a standard blues. This feature introduces a tension that propels the listener's expectation toward the next chord change cycle. Here is an example: C7 - A7 / Dm7 - G7 Count Basie's version of the blues progression, which came into wide use, demonstrates several of these variations (shown here in the key of F): F7 / Bb7 Bdim / F7 Bb7 / Bdim / F7 Gm7 / C7 / F7

/ Cm7 / D7 / Gm7

F7 / / C7 /

Alto sax great Charlie Parker introduced a fluid chord sequence for jazz blues, using tritone substitution and chromatic chord changes typical of the be-bop era. It has come to be known as Bird Blues, after his nickname, "Yardbird," or more simply, "Bird."

Bird blues progression[17] IM7 VIIm7♭5 III7♭9 VIm7 II7 IV7

IVm7 ♭VII7

IIm7

V7

Vm7 I7

IIIm7 VI7 ♭III7 ♭VI7 I7 VI7♭9

IIm7 V7

Play Wikipedia:Media helpFile:Bird blues progression.mid For example, similar progressions may be found in, Parker's "Blues for Alice", Wes Montgomery's "West Coast Blues", and the non-jazz Toots Thielemans' "Bluesette", Parker's "Confirmation", and Harry Warren's "There Will Never Be Another You".[18] Below is a common version of the Bird Blues chord sequence, shown here in F: Fmaj7 / Em7b5 Bb7 / Bbm7 Gm7 / C7

A7b9 / Eb7 / /

Dm7 Am7 F

Db7 / D7 / D7 /

Cm7 Abm7 Gm7

F7 / Db7 / C7 //

A more modern example is the A-section of Pat Metheny's "Missouri Uncompromised". The first 4 bars and the last 4 bars are taken from the classic blues (albeit without the dominant quality); the middle 4 bars, although completely altered, still follow the functional pattern of the blues: • B♭/A is a suspended subdominant, which serves as a pivot point modulating to B♭ major, where it becomes an unstable form of the tonic; • D♭/A♭ serves as a more stable version of a (now minor) tonic substitute (tonic of the subdominant is subdominant by association to the original key); • E♭/G serves as a pivot point modulating back to A major, where it becomes the triton substitute of the tonic; • D/F♯ and Dm/F are both subdominant, creating a natural movement from the tonic substitute above to the dominant chord in bar 9. A Bb/A E

/ A / A / Db/Ab / Eb/G / D / A

/ A / / D/F# Dm/F / / A //

Twelve-bar blues

References [1] Thomas 2002, p. 85. [2] Benward & Saker 2003, p. 186. [3] Kernfeld 2007 [4] Alfred Publishing, p. 18 [5] Tanner and Gerow 1984, p. 37 cited in Baker 2004: "This alteration [V-IV-I rather than V-V-I] is now considered standard." [6] Alfred 2003, p. 4 [7] Spitzer 2001, p. 62 [8] Spitzer 2001, p. 62. [9] Spitzer 2001, p. 62. [10] Spitzer 2001, p. 63. [11] Spitzer 2001, p. 63. [12] Middleton 1990, pp. 117–8). [13] Doll 2009, p. 22. [14] Covach 2005, p. 67. [15] Spitzer 2001, p. 64. [16] Shipton 2007, pp. 4–5. [17] Spitzer 2001, p. 64. [18] Spitzer 2001, p. 64.

Works cited • Alfred Publishing (2002). Beginning Delta Blues Guitar. ISBN 978-0-7390-3006-6. • Alfred Publishing (2003). Electric Bass for Guitarists. ISBN 0-7390-3335-2. • Anonymous (8-14-08). " Blues Chord Progressions and Variations (http://how-to-play-blues-guitar.com/ blues-concepts/blues-chord-progressions-and-variations/): Common variations in the twelve bar form", How to Play Blues Guitar.com. • Axelsson, Lars; Strängliden, Eddie, eds. (2007). "Johnny B. Goode" (http://www.ehrlingforlagen.se/ 100lattalatargitarr1.htm). 100 Lätta Låtar: Gitarr [100 Easy Songs: Guitar]. 100 Lätta Låtar 1. Erhrlingförlagen AB. ISBN 978-91-85662-11-1. • Benward, Bruce, and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition. Boston: McGraw-Hill. ISBN 978-0-07-294262-0. • Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5. • Doll, Christopher (2009). "Transformation in Rock Harmony: An Explanatory Strategy" (http://trace.tennessee. edu/cgi/viewcontent.cgi?article=1000&context=gamut). Gamut (2): 1–44. • Gerow, Maurice and Tanner, Paul (1984). A Study of Jazz, Dubuque, Iowa: William C. Brown Publishers, p. 37, cited in Baker, Robert M. (2005). A Brief History of the Blues (http://web.archive.org/web/20071014055652/ http://thebluehighway.com/history.html)". • Kernfeld, Barry, ed. (2007). "Blues progression". The New Grove Dictionary of Jazz;. 2nd Edition. Oxford, UK: Oxford University Press. • Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9. • Shipton, Alyn (2007). A New History of Jazz, 2nd. ed., Continuum, pp. 4–5. • Spitzer, Peter (2001). Jazz Theory Handbook. ISBN 978-0-7866-5328-7. • Thomas, John (2002). Voice Leading for Guitar: Moving Through the Changes. ISBN 0-634-01655-5. • Van der Merwe, P. (1989). Origins of the Popular Style. Oxford: Clarendon Press. ISBN 0-19-316121-4. Cited in Middleton (1990).

58

Twelve-bar blues

59

External links • 12 Bar Blues and Variations (http://betweenthelicks.com/blues-guitar/12-bar-blues-and-variations). • Marc Sabatella's Jazz Improvisation Primer (http://www.outsideshore.com/primer/primer/ms-primer-5-2. html#Blues). • 12-Bar-Blues guitar lesson (http://www.blueslessons.net/index.php?option=com_content&task=view& id=25&Itemid=33). • Collection of Recordings of 12-Bar-Blues Examples (http://www.bluesimprov.com/recordings/all.php).

Turnaround (music) In jazz, a turnaround is a age 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. ii-V7-I turnaround in C


Typical turnarounds Typical turnarounds in jazz include: • I-vi-ii-V (ii-V-I turnaround, circle progression) • I-VI-II-V[4] (I-V/ii-V/V-V) • I-♭iiio-ii7-V7[5] • I-vi-♭VI7♯11-V • V-IV-I (blues turnaround) • I-♭III-♭VI-♭II7 (Tadd Dameron turnaround) Turnarounds typically begin with the tonic (I) and end on the dominant (V7), the next section starting on the tonic (I). They may also end on ♭II7 (dominant substitute).[6] Thus when used in a twelve bar blues pattern, the twelfth bar may end on the dominant. All of the chords in a turnaround may be seventh chords.

Harmonic alternatives

[2] I-vi7-ii-V7 turnaround in C Play Wikipedia:Media helpFile:I-vi-ii-V turnaround in C.mid.

III-VI-II-V turnaround often appears in the bridge [3] of jazz standards. Play Wikipedia:Media helpFile:Ragtime progression in C.mid

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

Turnaround (music)

chord would be a minor chord (min, -7, -6, -(♭6), etc.) but here the major third allows for a more interesting modulation. Take the example in C major: C - A - d min - G (dom) . 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).

60

Tadd Dameron turnaround with resolution. Play Wikipedia:Media helpFile:Tadd Dameron turnaround with resolution.mid

Similar chromaticism and harmonic interest can be achieved by the use of a secondary dominant, which are also useful for turnarounds. The simplest example is V7/V - V7 - I, instead of ii - V - I. Another popular turnaround which may be considered as a secondary dominant analysis is ii - ♭V/V (or ♭II) - I, which is a variation on the standard ii - V - I turnaround. In jazz parlance, use of the bII instead of the V is known as Tritone Substitution. Using bV/V instead of V allows for a smooth chromatic descent. Again, let's examine C major; the original turnaround would be d min - G (dom) - C, while the modified would be d min - 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) at all, but ♭II7, a substitute dominant[7] (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-wise downward motion of the roots of those chords, as seen in ii - ♭II7 - I, forms the familiar "line cliché", arriving satisfyingly at the tonic. NB: "Secondary dominant" = the functional dominant of the key's dominant or another non-tonic chord, while "substitute dominant" = 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,[8] 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.[9]

References [1] [2] [3] [4] [5] [6] [7] [8] [9]

Randel, Don Michael (2002). The Harvard Concise Dictionary of Music and Musicians. ISBN 0-674-00978-9. p.693 Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7. Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7. Boyd (1997), p.86. Boyd (1997), p.90. Coker, et al (1982). Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation, p.118. ISBN 0-89898-703-2. , . Harmony 4 course book, . Berklee College of Music. Boyd (1997), p.44. Boyd (1997), p.46-47.

V-IV-I turnaround

61

V-IV-I turnaround In music, the V-IV-I turnaround, or blues turnaround,[3] is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll. The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7, D7, A7, E7 [V-IV-I-V[4]]."[5] V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression), the turnaround (last four bars) usually ends on V, which makes us feel like we need to hear I again, thus bringing us around to the top (beginning) of the form again.".

Harmonized blues turnaround (blue colored [1] notes) in open G tuning containing "How Dry I Am" Play Wikipedia:Media helpFile:Blues turnaround open G tuning.mid.

V-IV-I progression in C Play Wikipedia:Media helpFile:V-IV-I turnaround in C.mid

Perfect authentic cadence: IV-V-I progression in C Play Wikipedia:Media helpFile:IV-V-I in C.mid. Considered the strongest ending during the common practice period.

"The stock jazz-blues turnaround [V7 I7-VI7-ii7-V7]. More specifically...the I-VI-ii-V7 turnaround that can be found in jazz and many non-jazz styles. If there is one turnaround...that [2] has to become second nature, this is it." Play Wikipedia:Media helpFile:Jazz-blues turnaround.mid.

V-IV-I turnaround

The blues turnaround may be "dress[ed] up" by using Vaug Play Wikipedia:Media helpFile:Augmented triad on C.mid ("an uptown V7") instead of V7 Play Wikipedia:Media helpFile:Dominant seventh chord on C.mid, "adding a touch of jazzy sophistication."[6] An important variation is the jazz influenced turnaround ii-V-I-V.

History "It seems likely that the blues turnaround evolved from ragtime-type Blues turnaround containing "How Dry I Am" Play Wikipedia:Media helpFile:Blues music", the earliest example being I-I7-IV-iv-I (in C: C-C7-F-Fm-C), [7] turnaround.mid. "The Japanese Grand March". This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". Fischer describes the turnaround as the last two measures of the blues form, or I7 and V7, with variations including I7-IV7-I7-V7-[8]

Analysis The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony. The motion of the V−IV−I cadence has been considered "backward," as, in traditional harmony, the subdominant normally prepares for the dominant which then has a strong tendency to resolve to the tonic. However, an alternative analysis has been proposed in which the IV acts to intensify the seventh of V, which is then resolved to the third of the tonic. The V-IV-I movement has also been characterized as "unwinding" the V-I cadence with the addition of the ing IV.[9]

Sources [1] [2] [3] [4] [5] [6] [7] [8] [9]

Brozman, Bob (1996). Bob Brozman's Bottleneck Blues Guitar, p.7. ISBN 1-57623-727-3. Manus, Ron (2003). Jazz Lead Guitar Solos: The Ultimate Guide to Playing Great Leads, Book & CD, p.16. ISBN 0739031589. Gress, Jesse (2006). Guitar Licks of the Texas Blues-Rock Heroes, p.16. ISBN 0-87930-876-1. Alfred Publishing (2003). Electric Bass for Guitarists, p.34. ISBN 0-7390-3335-2. Tony Skinner, Andy Drudy (2006). Guitar Lessons Blues and Rock: 10 Easy-to-follow Guitar Lessons, p.18. ISBN 1-898466-76-9. Johnston, Richard (2007). How to Play Blues Guitar: The Basics and Beyond, p.19. ISBN 0-87930-910-5. Baker, Duck (2004). Duck Baker's Fingerstyle Blues Guitar 101, p.17. ISBN 0-7866-7210-2. Fischer, Peter (2000). Blues Guitar Rules, p.31. ISBN 3-927190-64-0. Pedlar, Dominic (2003). The Songwriting Secrets of the Beatles, p.30. ISBN 0-7119-8167-1 and (http:/ / www. torvund. net/ guitar/ index. php?page=prog& prid=3).

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Article Sources and Contributors

Article Sources and Contributors List of chord progressions Source: http://en.wikipedia.org/w/index.php?oldid=581862564 Contributors: Hyacinth, I-V-vi-iii-IV-I-IV-V, Johanna-Hypatia, Keenan Pepper, Malcolma, Thefairytoad, 5 anonymous edits 50s progression Source: http://en.wikipedia.org/w/index.php?oldid=577515624 Contributors: Adavidb, Alveolate, Antediluvian67, Apeloverage, Aspects, Beatlehippie, Bfinn, Bill Frankenstein, BillyTFried, Cadwaladr, Canthusus, Cfolz88, Cjpuffin, Cloverboy19, Coder Dan, Dmitry123456, Elonka, Faxtro, Furrykef, Grunion Grady, Hyacinth, Imzadi1979, Infrangible, InnocuousPseudonym, Izeb, JPaestpreornJeolhlna, Jogers, JohnnyLurg, Jpgordon, JustAGal, Kiko4564, Kobitate94, Louisa.star, Lyrelyre, Mato, MegX, Mgoho, MrWickstrom, Pianoeagle1903, Pigby, Possum, PurpleWyrm, Radiodef, Ramblagir, Redheylin, Rich Farmbrough, Rjwilmsi, Schavira, Simishag, Steve3849, Tassedethe, Theashleighp, Thebrid, Trivialist, Zundark, 129 anonymous edits Andalusian cadence Source: http://en.wikipedia.org/w/index.php?oldid=573481739 Contributors: Airplaneman, BD2412, Bdiscoe, GACoast, Calliopejen1, Cargoking, Chrislk02, Erehtsti, Esprit15d, Fratrep, GCarty, Hmains, Hyacinth, Impy4ever, JM.Beaubourg, Jagged 85, John of Reading, Jubileeclipman, Justlettersandnumbers, MegA, PrestonH, Red Slash, Redheylin, Renfield, Rigadoun, Rjwilmsi, Rmky87, Rruleroo, Sfan00 IMG, SimonP, Steinbach, Tassedethe, Thaurisil, Witchwooder, Woohookitty, Yeepsi, Yonatan, 30 anonymous edits Backdoor progression Source: http://en.wikipedia.org/w/index.php?oldid=511633439 Contributors: BassHistory, Bigfry, Bunnymachine, Cholling, Fyrael, Hyacinth, Jazzwiz7, Joshk, Manning Bartlett, Niceguyedc, Pkirlin, Samw, Special-T, Wlrube, 4 anonymous edits Bird changes Source: http://en.wikipedia.org/w/index.php?oldid=583814247 Contributors: BassHistory, Hyacinth, Jafeluv, Kleinzach, Lainagier, Moontripper, Tobus, 11 anonymous edits Circle progression Source: http://en.wikipedia.org/w/index.php?oldid=557848786 Contributors: Giftlite, Hyacinth, Jerome Kohl, Jtir, Lainagier, Lyrelyre, Mahlerlover1, Melodia, PhnomPencil, Rjwilmsi, Strk, Wikky Horse, 4 anonymous edits Coltrane changes Source: http://en.wikipedia.org/w/index.php?oldid=541167333 Contributors: Ahoerstemeier, Andrew Norman, Aristotle28, Awoodill, BassHistory, Bbuda, Beetstra, Billlyons, Blyons3, CarolGray, Charles Matthews, Cyberplasm, DLuebbert, Editor437, Ethdhelwen, Feline Hymnic, Gintautasm, Hyacinth, IceUnshattered, Jafeluv, JamesAM, JavierMC, JazzThink, Jazzzguy, Kelleyarau, Kilmer-san, Kisch, Koavf, Maberly, Mako098765, Masayamusic, MegX, Nick Number, Rick Block, Seechord1, ShelfSkewed, Snaxe920, Starvinsky, Sundararaju reddi, TheOldJacobite, Varlaam, Viriditas, Wahoofive, Wikielwikingo, Δ, 82 anonymous edits Eight-bar blues Source: http://en.wikipedia.org/w/index.php?oldid=540598715 Contributors: BassHistory, Camembert, Conversion script, Darklilac, Deon Steyn, Dissolve, ErkinBatu, GoingBatty, Graham87, Grumpyyoungman01, Guy1890, Guypersonson, Hyacinth, John FitzGerald, Kurykh, Kyz, Mackgrout, Malikbek, Ned5000, Oceanh, Ojorojo, Ortolan88, Salsa Shark, Teejaydub, Theshowmecanuck, TobyJ, Trontonian, 8 anonymous edits Folia Source: http://en.wikipedia.org/w/index.php?oldid=583661385 Contributors: Adghar, Altenmann, Alton, AndrewWTaylor, Anthonyhcole, BillC, Bruce1ee, Charles Matthews, China Crisis, ChrisGualtieri, Chrylis, Dalv89, DavidRF, Discospinster, Dust Filter, Ema Zee, Erutuon, Eskimo, Fangjian, Francis Schonken, Future Perfect at Sunrise, Geschichte, Giovannii84, Graham87, Hrdinský, Hyacinth, Impy4ever, Iustinus, JForget, JPH-FM, Jerome Kohl, Jiankabe, Jlumsden2, Jmpunit, Jonathan.s.kt, Joshuapaquin, Kleinzach, KnightRider, LFaraone, Lambiam, Lorrimeyers, Lpgeffen, Pearle, Pjoef, R. fiend, RJFJR, RockMFR, Ronkonkaman, Sbeckmesser, Ser Amantio di Nicolao, Siafu, SpiderMum, Stereo, Timjudd1, Violncello, Vvven, Wareh, Wikihistorian, Yngvadottir, Yrjö Kari-Koskinen, Zafiroblue05, Zoanthropiaranoia, 78 anonymous edits Ii-V-I turnaround Source: http://en.wikipedia.org/w/index.php?oldid=561230487 Contributors: BassHistory, Bruce1ee, GACoast, Campbelldaley, Daniel Lawrence, Dirk gently, HappyCamper, Hyacinth, Jafeluv, Jazz+, Joeyramoney, Milton Stanley, Mütze, PhnomPencil, Pumbor, Rictus, Rigadoun, SlubGlub, Thecarofmiki, Tjmayerinsf, Vincent stehle, X172, 25 anonymous edits Irregular resolution Source: http://en.wikipedia.org/w/index.php?oldid=512764737 Contributors: Friedle, Gary King, Gwalla, Hyacinth, Jacksonsherman, Kleinzach, NeilN, Redheylin, Wavelength, 3 anonymous edits Montgomery-Ward bridge Source: http://en.wikipedia.org/w/index.php?oldid=579180268 Contributors: ChrisGualtieri, Firenexx, Hyacinth, OliverTwisted, Redheylin, Rigadoun, 3 anonymous edits Omnibus progression Source: http://en.wikipedia.org/w/index.php?oldid=544039154 Contributors: AndrewHowse, Bdegfcunbbfv, Benjaminhammond, GACoast, Dpotter, Dr McV, Drcastro, Hyacinth, Jackjoker, Jeffboyd, Kleinzach, Mardhil, Maustra, NameIsRon, Redheylin, Tayste, Violncello, 18 anonymous edits Pachelbel's Canon Source: http://en.wikipedia.org/w/index.php?oldid=584402764 Contributors: !Darkfire!6'28'14, 18Fox, 32X, 90, AceFighter19, Adam Bishop, Afuller2028, Airconswitch, AkeemOuellet, Al jordan82, Alai, Alansohn, Aleksa Lukic, Alistair.Johnston, Allens, Alton.arts, Andiyar, Andrea105, Andreas007, Andrew from NC, Andrewdt85, Andrewjeffreycaustonlee, Andy, Angr, Angry bee, Annvie9, AnonMoos, Arimis, Ask123, AzaToth, Azd lowry, Azure Haights, B Gallagher, BNutzer, BartlebytheScrivener, Baylink, Bdesham, Beamrider, Bencherlite, Bensin, Bigturtle, Billjefferys, Billybobjoe786, Blehfu, Blueaster, Bluewave, Born2cycle, Brazucs, Browndruid, Burn, Bushbaby387, CMBJ, Cagnol, Cal-linux, Camembert, Can't sleep, clown will eat me, Canongirl, Canwikigirl, CardinalDan, Caue.cm.rego, Causa sui, Cazort, CenturionZ 1, Ceoil, Chairman S., ChardingLLNL, Chensiyuan, Chrism, Christofurio, Chubbles, ClarenceAtomkraft, ColourBurst, Commander Keane, CommonsDelinker, Conj 12, Coretheapple, aa, k1971, Cricket02, CrispyChicken, Csurguine, Curtvprice, Cyberchao X, D4g0thur, DJRikki, Damian Yerrick, DanSindel, Dangerousnerd, Daniel Case, DanielDeibler, Danieldorff, Danny, Darev, DasBooch, Davekimmusic, DavidRF, Dawdler, Db10000, Dbenzh, Deb, Decagon, Dekimasu, Deltabeignet, DiamondDragon, DiegoZamboni, Dior couture1245, Dissident, Dmwpeet, Dohn joe, Dpru, DragonofFire, DraxusD, DutchmanInDisguise, Dwedit, Dysprosia, E tac, ERcheck, EamonnPKeane, EcoMan, Ed g2s, El duderino, ElizaBarrington, EnglishEfternamn, Eniac turing, EntChickie, Eosmann, Ergzay, Eusebeus, Evanreyes, Everything counts, EvilMulder, Fabiopl, Fabri88, Faramirtook, Femto, Fjbfour, Flair Girls, Flamurai, Flip619, FordPrefect42, Foxhunter22, Francvs, Fratrep, FrenchIsAwesome, Frencheigh, Frogrocker, Fuseau, Gaijinbiker, Gaius Cornelius, Gareth Griffith-Jones, Gauntt, Gbiniou, Gen. 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Brown Shoes, MD87, Magister Mathematicae, Majorly, Marchoi, Marconis, MarkusHagenlocher, MartinUK, MattZab, Mav, Maxis ftw, MazdaManiac, McGeddon, MegA, MegX, Melodicbard, Merlion444, Merphant, Metasquares, Metron4, Mgdickson7, Mglovesfun, Miffopro, Mike Rosoft, Missmarple, Mkilly, Mmm-oh-yeah, Moe Epsilon, Mpdimitroff, Mtpt, Nahald, Nemo Neem, Neonzz, Nerwen, Nevare, Nick, Nick Graves, Nick123, Nikki58, Nnemo, NoodleMan26, Noodlz15, O Graeme Burns, Oaklandguy, Ohnoitsjamie, Olcbarcelonamusic, Oliver Crow, Ollj, Omegatron, Opus33, Oracle2universe, Orange Suede Sofa, Paul 012, Paul75, Pereant antiburchius, Peripitus, Peu, Philip Trueman, Phloide, Pictureer, Pietaster, Piledhigheranddeeper, Pilibin, Pimlottc, Plastikspork, Pne, Pol098, Pouchkidium, Pre10s, PuzzletChung, Pwr.max, Quaternaria, Quercusrobur, Quixoto, Qwilleranfan, RAMChYLD, Racerx11, Ralaiti123, Ratiocinate, Raul654, RaymondSutanto, Redheylin, ReignMan, Res2216firestar, Reywas92, Riana, Rich Farmbrough, Rick 50000, Robert Merkel, Robertcathles, Robin klein, RockMFR, Rodericksilly, Ronnietse, Royalbroil, Rumpelstiltzkin, Rwmacdougall, Ryan92, S87magee, Sae, Samuri Scearious, Sarbogard, Schaufel, ScottMon, Scottandrewhutchins, Seattle Skier, Semperf, Ser Amantio di Nicolao, Sgoldman10, Sgrandpre, ShaneCarey, Shanman7, ShardPhoenix, Shawnc, Shicoco, Shlomif, SigmaEpsilon, Sir Nicholas de Mimsy-Porpington, Sirkablaam, Slixi, SlubGlub, Smerus, Smmurphy, Snesfm, Snkcube, Snoyes, SoulCandy, South Bay, Soyseñorsnibbles, Special-T, Spellmaster, Spyroninja, SquantHued, Squeal, Steevm, Stone wolf14, Stuartyeates, Summer Song, SvNH, Svdb, Syrup patrol, Szena, TKi, TauNeutrino, Tekus, That Guy, From That Show!, The Cool Kat, The dark lord trombonator, Thegingerone, Thesilverbail, Timboh56, Tiuks, Tkynerd, Toccata quarta, Tommylommykins, Tony1, Torzsmokus, Tregoweth, TubularWorld, TudorTulok, Tweeq, Twice25, Tyrol5, Ugo1970, Ukexpat, Uncopy, Unint, Vancungcung, Vanished azby388723i8jfjh32, Ventura, Verdatum, Verkhovensky, Vespajason, Victor Chmara, Violncello, WMC2007, Wahkeenah, Wbxs, Where, Wiki alf, WikiDan61, WikiLeon, WikipedianMarlith, WinstonBerni, Wonghang, Woohookitty, Xtfcr7, Yanivgr, Yousaf465, Zazaban, ZeWrestler, Ziiv, Zomic13, Zondor, Zone46, ZooFari, Zoomlines, Zoz, А, 에멜무지로, 929 anonymous edits amezzo antico Source: http://en.wikipedia.org/w/index.php?oldid=584804253 Contributors: ChrisGualtieri, Erik Kennedy, Giraffedata, Hmains, Hyacinth, Jerome Kohl, K1Bond007, Kkkdc, Mibblepedia, Missmarple, Redheylin, Tassedethe, Wahoofive, 13 anonymous edits amezzo moderno Source: http://en.wikipedia.org/w/index.php?oldid=543890490 Contributors: Alcuin, Alpenfrauchen, Antediluvian67, Auntof6, Boleyn, Drmies, Furrykef, GoingBatty, Hmains, Hyacinth, Jerome Kohl, Kkkdc, Mardhil, Martpol, Nick Michael, Rettetast, SteveLetwin, Welsh, 21 anonymous edits I-V-vi-IV progression Source: http://en.wikipedia.org/w/index.php?oldid=583922690 Contributors: Acdx, Aurora Illumina, Avicennasis, Awesomebriks, Benzband, Cloverboy19, Deltik, Dobie80, Drbreznjev, Erfa, Florian Blaschke, GoingBatty, Gonzalo M. Garcia, HMSSolent, Hongsy, Hyacinth, Impy4ever, JLaTondre, JPaestpreornJeolhlna, Jagged 85, Jprg1966, JustAGal, Kavi96, Kendalph, Kingturtle, Mato, MatthewGoodfan101, McGeddon, Meganesia, Melchoir, Nile45, Ninly, Ost316, Radiodef, Red Slash, ShelfSkewed, Smartse, Snitkofb, Steinbach, Telos,

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Article Sources and Contributors Trevgreg, Whitepaw, 89 anonymous edits Ragtime progression Source: http://en.wikipedia.org/w/index.php?oldid=569090180 Contributors: Arcadian, BassHistory, Devin.chaloux, Gmpolin, Halidecyphon, Hearfourmewesique, Hyacinth, Infrogmation, LavosBacons, Lemuellio, Mahlerlover1, MegX, Mibblepedia, Milkunderwood, Wahoofive, Wfructose, 8 anonymous edits Rhythm changes Source: http://en.wikipedia.org/w/index.php?oldid=572013128 Contributors: Adrianiu, Allenstone, AllyD, Antediluvian67, BRG, BassHistory, Belizefan, Bobcat7, Bobinsbca, Cassiebennett, CommonsDelinker, illz, Design, Dickdock, Dodiad, DutchmanInDisguise, Freedrull, Gareth E Kegg, Glassbreaker5791, Hyacinth, Jafeluv, JoeTrumpet, KConWiki, Kibiusa, Kisch, Koavf, Madness, MegX, Melaen, Ndorward, OddMNilsen, Proabivouac, RAlafriz, Radavenport, Robina Fox, Schweiwikist, Sfiller, SoniqV, Theviper, Trammel, W guice, Wa7ers, Woohookitty, Zucchinidreams, 100 anonymous edits Romanesca Source: http://en.wikipedia.org/w/index.php?oldid=584804345 Contributors: Angusmclellan, Brewcrewer, CarloMartinelli, Cgingold, Hyacinth, Jerome Kohl, Johnvihuela, Leofric1, SDC, Shasho1, Steinbach, TBHecht, Tommi Siivola, 10 anonymous edits Twelve-bar blues Source: http://en.wikipedia.org/w/index.php?oldid=584319819 Contributors: Aldis90, AllyD, Anna Lincoln, Antediluvian67, Apeloverage, Arno Matthias, Arranger61, BDD, Backfromquadrangle, Backslash Forwardslash, Balabiot, Bald Zebra, BassHistory, Bearcat, Billstewart, Bitbut, Boleyn, Brian Crawford, Brianreading, Brunton, BurnDownBabylon, GACoast, Calabe1992, Camembert, Charles Matthews, Cielomobile, Conversion script, Curps, David Levy, Dbarclaymoore, Deon Steyn, DerHexer, Dirk Hagemann, Dissolve, Dlohcierekim, Dmr2, Drsmoo, Dylfre47, Eleuther, ErkinBatu, Face, Finlay McWalter, Fratrep, Frvernchanezzz, Furrykef, Gene Fellner, Geniac, Graham87, Grumpyyoungman01, Gurry, Gus, Hache Ele, Hazzles98, Hearfourmewesique, Hkwikip, Hu12, Hyacinth, IRP, Ikeshut, Isamit, JHP, JadeOwl, Jafar13, Jafeluv, Jcardinal, Jimmy Pitt, JohnCD, Jph, Jprg1966, Juantxorena, Kansas Sam, Kiefer.Wolfowitz, Klundarr, Krawi, L Kensington, LGF1992UK, LaurelESH, Lordofthesheep, Luk, Marek69, Maunus, MegX, Merlync70, Mike Rosoft, MikeLynch, Monkeycheesecake, Niklas R, NoJoy, Nookstery, Ohnoitsjamie, One Of Seven Billion, OriginalJay, Ortolan88, Ozzykhan, Peter Pants, Petrb, Pladask, PrachtAl, RadioBroadcast, Radon210, Random contributor, Redheylin, Rich Farmbrough, Rigadoun, Rjanag, Rjwilmsi, Sabrebd, Salsa Shark, Sam Hocevar, Saxmansignguy, Seancron, SerenadeOp24, Sixteen Left, Sketchee, Slimandslam, Sluzzelin, SlyEcho, SonOfNothing, Special-T, Sriharsh1234, Sssoul, StaticGull, StephenBuxton, Stephenb, StuTheSheep, Sunnan, Tassedethe, Tcncv, Teejaydub, Tgeairn, Thatguyflint, The Person Who Is Strange, The Thing That Should Not Be, Theopolisme, Theshowmecanuck, Timd12345, Tommy2010, Tone, Tranchis, Tryingtomakeadifference, TunaSunrise, Txomin, Universalcosmos, Vanished ikijeirw34iuaeolaseriffic, Wahoofive, Watergoose, We hope, WikHead, William Avery, Wiltroon, Wrolf, X!, Xtifr, Zaf, Zazaban, Zenlax, Zimbricchio, Zundark, 260 anonymous edits Turnaround (music) Source: http://en.wikipedia.org/w/index.php?oldid=544033928 Contributors: AllyD, BassHistory, , DutchDevil, Editor437, Ehjort, EngineerScotty, Fauban, Furrykef, Grafen, Gyrofrog, Hyacinth, MithrandirAgain, Pre10s, R'n'B, RaffleFour, Redheylin, Rigadoun, ShelfSkewed, 24 anonymous edits V-IV-I turnaround Source: http://en.wikipedia.org/w/index.php?oldid=532469445 Contributors: BassHistory, GACoast, Hyacinth, LilHelpa, 1 anonymous edits

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Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors Image:50s progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:50s_progression_in_C.png License: GNU Free Documentation License Contributors: Hyacinth File:Loudspeaker.svg Source: http://en.wikipedia.org/w/index.php?title=File:Loudspeaker.svg License: Public Domain Contributors: Bayo, Frank C. Müller, Gmaxwell, Gnosygnu, Husky, Iamunknown, Mirithing, Myself488, Nethac DIU, Nixón, Omegatron, Rocket000, Shanmugamp7, Snow Blizzard, The Evil IP address, Túrelio, Wouterhagens, 28 anonymous edits Image:Phrygian Andalusian cadence.png Source: http://en.wikipedia.org/w/index.php?title=File:Phrygian_Andalusian_cadence.png License: Public Domain Contributors: Hyacinth (talk) Image:Backdoor progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Backdoor_progression_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 12:09, 12 December 2010 using Sibelius and Preview. Image:Bird Blues in Bb.png Source: http://en.wikipedia.org/w/index.php?title=File:Bird_Blues_in_Bb.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Vi-ii-V-I in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Vi-ii-V-I_in_C.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Coltrane changes.png Source: http://en.wikipedia.org/w/index.php?title=File:Coltrane_changes.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Later Folia.png Source: http://en.wikipedia.org/w/index.php?title=File:Later_Folia.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Ii-V-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Irregular resolution I.png Source: http://en.wikipedia.org/w/index.php?title=File:Irregular_resolution_I.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 04:19, 2 May 2010 using Sibelius 5. Image:Montgomery-Ward bridge in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Montgomery-Ward_bridge_in_C.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Omnibus progression.png Source: http://en.wikipedia.org/w/index.php?title=File:Omnibus_progression.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Pachelbel Canon bass line (quarter notes).svg Source: http://en.wikipedia.org/w/index.php?title=File:Pachelbel_Canon_bass_line_(quarter_notes).svg License: Public Domain Contributors: :Bdesham Image:amezzo antico.png Source: http://en.wikipedia.org/w/index.php?title=File:amezzo_antico.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Gregory Walker root progression.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Gregory_Walker_root_progression.PNG License: GNU Free Documentation License Contributors: Hyacinth at en.wikipedia Image:I-V-vi-IV chord progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I-V-vi-IV_chord_progression_in_C.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Ragtime progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ragtime_progression_in_C.png License: GNU Free Documentation License Contributors: :Gobonobo Image:Rhythm changes in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Rhythm_changes_in_C.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Romanesca.png Source: http://en.wikipedia.org/w/index.php?title=File:Romanesca.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Twelve bar boogie-woogie blues in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Twelve_bar_boogie-woogie_blues_in_C.png License: GNU Free Documentation License Contributors: :Linfocito B Image:I-vi-ii-V turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I-vi-ii-V_turnaround_in_C.png License: GNU Free Documentation License Contributors: Original er was Hyacinth at en.wikipedia Image:V-IV-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:V-IV-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 08:56, 6 December 2010 using Sibelius 5. Image:50s progression in C variation.png Source: http://en.wikipedia.org/w/index.php?title=File:50s_progression_in_C_variation.png License: GNU Free Documentation License Contributors: :Hyacinth File:Porrina de Badajoz.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Porrina_de_Badajoz.jpg License: Public Domain Contributors: Balbo, Gianni86, Judithcomm, Kilom691, 3 anonymous edits File:Andalusian.png Source: http://en.wikipedia.org/w/index.php?title=File:Andalusian.png License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Impy4ever File:Phrygian Andalusian cadence.png Source: http://en.wikipedia.org/w/index.php?title=File:Phrygian_Andalusian_cadence.png License: Public Domain Contributors: Hyacinth (talk) File:Backdoor progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Backdoor_progression_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 12:09, 12 December 2010 using Sibelius and Preview. File:Backdoor progression IV in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Backdoor_progression_IV_in_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk). 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Image Sources, Licenses and Contributors File:Later Folia b.png Source: http://en.wikipedia.org/w/index.php?title=File:Later_Folia_b.png License: GNU Free Documentation License Contributors: :Hyacinth File:Ii-V-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Hyacinth File:Bach - Well-Tempered Clavier, Book I, Prelude I, opening.png Source: http://en.wikipedia.org/w/index.php?title=File:Bach_-_Well-Tempered_Clavier,_Book_I,_Prelude_I,_opening.png License: Public Domain Contributors: :SreeBot File:Bach - WTC I, Prelude in D Major ii-V-I.png Source: http://en.wikipedia.org/w/index.php?title=File:Bach_-_WTC_I,_Prelude_in_D_Major_ii-V-I.png License: Public Domain Contributors: Hyacinth File:Ii-V-I classical and jazz.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_classical_and_jazz.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:16, 7 December 2010 using Sibelius 5. File:Ii-V-I turnaround in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_in_C_minor.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 18:01, 16 July 2010 using Sibelius 5. File:Ii-V-I turnaround four-voice in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_four-voice_in_C_minor.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 18:59, 16 July 2010 using Sibelius 5. File:Irregular resolution I.png Source: http://en.wikipedia.org/w/index.php?title=File:Irregular_resolution_I.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 04:19, 2 May 2010 using Sibelius 5. 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Image:Montgomery-Ward bridge with ii-V's in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Montgomery-Ward_bridge_with_ii-V's_in_C.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Omnibus 1.png Source: http://en.wikipedia.org/w/index.php?title=File:Omnibus_1.png License: Public Domain Contributors: Drcastro (talk) File:Pachelbel-canon-colors.png Source: http://en.wikipedia.org/w/index.php?title=File:Pachelbel-canon-colors.png License: Public Domain Contributors: Alton, BenFrantzDale, Bensin, CyclePat, Finnrind, Gohnarch, Jashiin, Meno25, 9 anonymous edits File:Pachelbel Canon bass line (quarter notes).svg Source: http://en.wikipedia.org/w/index.php?title=File:Pachelbel_Canon_bass_line_(quarter_notes).svg License: Public Domain Contributors: :Bdesham File:amezzo antico.png Source: http://en.wikipedia.org/w/index.php?title=File:amezzo_antico.png License: GNU Free Documentation License Contributors: :Hyacinth File:amezzo and Romanesca.png Source: http://en.wikipedia.org/w/index.php?title=File:amezzo_and_Romanesca.png License: GNU Free Documentation License Contributors: :Hyacinth Image:Darling Nelly Gray page 1.png Source: http://en.wikipedia.org/w/index.php?title=File:Darling_Nelly_Gray_page_1.png License: unknown Contributors: :Hyacinth Image:American Gregory Walker root progression.PNG Source: http://en.wikipedia.org/w/index.php?title=File:American_Gregory_Walker_root_progression.PNG License: GNU Free Documentation License Contributors: Hyacinth (talk). 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