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Chord progression

In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.

A IV–V–I progression in the key of C major. The chords shown are F major, G major, and C major.

In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the common chord progression I–vi–ii–V, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and "quality" of the chords. For example, the previously mentioned chord progression, in the key of C major, would be written as C major–A minor–D minor–G major in a fake book or lead sheet. In the first chord, C major, the "C" indicates that the chord is built on the root note "C" and the word "major" indicates that a major chord is built on this "C" note.

In rock and blues, musicians also often refer to chord progressions using Roman numerals, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the 12-bar blues as consisting of I, IV, and V chords. Thus, a simple version of the 12-bar blues might be expressed as I–I–I–I, IV–IV–I–I, V–IV–I–I. By thinking of this blues progression in Roman numerals, a backup band or rhythm section could be instructed by a bandleader to play the chord progression in any key. For example, if the bandleader asked the band to play this chord progression in the key of C major, the chords would be C–C–C–C, F–F–C–C, G–F–C–C; if the bandleader wanted the song in G major, the chords would be G–G–G–G, C–C–G–G, D–C–G–G; and so on.

The complexity of a chord progression varies from genre to genre and over different historical periods. Some pop and rock songs from the 1980s to the 2010s have fairly simple chord progressions. Funk emphasizes the groove and rhythm as the key element, so entire funk songs may be based on one chord. Some jazz-funk songs are based on a two-, three-, or four-chord vamp. Some punk and hardcore punk songs use only a few chords. On the other hand, bebop jazz songs may have 32-bar song forms with one or two chord changes every bar.

Basic theory

 
The key note, or tonic, of a piece of music is called note number one, the first step of (here), the ascending scale iii–IV–V. Chords built on several scale degrees are numbered likewise. Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V).

A chord may be built upon any note of a musical scale. Therefore, a seven-note diatonic scale allows seven basic diatonic triads, each degree of the scale becoming the root of its own chord.[1] A chord built upon the note E is an E chord of some type (major, minor, diminished, etc.) Chords in a progression may also have more than three notes, such as in the case of a seventh chord (V7 is particularly common[citation needed]) or an extended chord. The harmonic function of any particular chord depends on the context of the particular chord progression in which it is found.[2]

Diatonic and chromatic chords

The diatonic harmonization of any major scale results in three major triads, which are based on the first, fourth, and fifth scale degrees. The triads are referred to as the tonic chord (in Roman numeral analysis, symbolized by "I"), the subdominant chord (IV), and the dominant chord, (V), respectively.[3] These three triads include, and therefore can harmonize, every note of that scale. Many simple traditional music, folk music and rock and roll songs use only these three chord types (e.g. The Troggs' "Wild Thing", which uses I, IV and V chords).

The same major scale also has three minor chords, the supertonic chord (ii), mediant chord (iii), and submediant chord (vi), respectively. These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D minor and E minor. In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added).

In addition, the seventh degree of the major scale (i.e. the leading tone) forms a diminished chord (viio).[4]

A chord may also have chromatic notes, that is, notes outside of the diatonic scale. Perhaps the most basic chromatic alteration in simple folk songs is the raised fourth degree ( ) that results when the third of the ii chord is raised one semitone. Such a chord typically functions as the secondary dominant of the V chord (V/V). In some instances, chromatic notes are introduced to modulate to a new key. This in turn may lead to a resolution back to the original key later on, so that the entire sequence of chords helps create an extended musical form and a sense of movement.

Progressions

Although there are many possible progressions, in practice, progressions are often limited to a few bars' lengths and certain progressions are favored above others. There is also a certain amount of fashion in which a chord progression is defined (e.g., the 12-bar blues progression) and may even help in defining an entire genre.[citation needed]

In western classical notation, chords are numbered with Roman numerals. Other types of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require a certain amount of improvisation.

Common progressions

Simple progressions

Diatonic scales such as the major and minor scales lend themselves particularly well to the construction of common chords because they contain many perfect fifths. Such scales predominate in those regions where harmony is an essential part of music, as, for example, in the common practice period of western classical music. In considering Arab and Indian music, where diatonic scales are used, there are also available a number of non-diatonic scales, the music has no chord changes, remaining always upon the key-chord, an attribute which has also been observed in hard rock, hip hop,[5] funk, disco,[6] jazz, etc.

Alternation between two chords may be thought of as the most basic chord progression. Many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale.[2] For example, many of the more straightforward melodies in classical music consist entirely or mostly of alternation between the tonic (I) and the dominant (V, sometimes with an added seventh), as do popular songs such as "Achy Breaky Heart".[7] The Isley Brothers' "Shout" uses I–vi throughout.[8]

Three-chord progressions

Three-chord progression are more common since a melody may then dwell on any note of the scale. They are often presented as successions of four chords (as shown below), in order to produce a binary harmonic rhythm, but then two of the four chords are the same.

  • I – IV – V – V
  • I – I – IV – V
  • I – IV – I – V
  • I – IV – V – IV

Often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody.

Similar progressions abound in African popular music. They may be varied by the addition of sevenths (or other scale degrees) to any chord or by substitution of the relative minor of the IV chord to give, for example, I–ii–V. This sequence, using the ii chord, is also used cadentially in a common chord progression of jazz harmony, the so-called ii–V–I turnaround.

Three-chord progressions provide the harmonic foundation of much African and American popular music, and they occur sectionally in many pieces of classical music (such as the opening bars of Beethoven's Pastoral Symphony[9]).

Where such a simple sequence does not represent the entire harmonic structure of a piece, it may readily be extended for greater variety. Frequently, an opening phrase has the progression I–IV–V–V, which ends on an unresolved dominant, may be "answered" by a similar phrase that resolves back onto the tonic chord, giving a structure of double the length:

I IV V V
I IV V I

Additionally, such a passage may be alternated with a different progression to give a simple binary or ternary form such as that of the popular 32-bar form (see musical form).

Blues changes

 
Blues progressions influenced a great deal of 20th century American popular music

The 12-bar blues and its many variants use an elongated, three-line form of the I–IV–V progression that has also generated countless hit records, including the most significant output of rock and rollers such as Chuck Berry and Little Richard. In its most elementary form (and there are many variants), the chord progression is

I I I I
IV IV I I
V IV I I

Blues progressions have also been subjected to densely chromatic elaboration, as in the Bird blues.

Steedman (1984) proposed that a set of recursive rewrite rules generate all well-formed transformations of jazz, both basic blues chord changes and slightly modified sequences (such as the "rhythm changes"). Important transformations include:

  • replacement of (or addition to) a chord with its dominant, subdominant or the tritone substitution.
  • use of chromatic passing chords.
  • extensively applying the ii–V–I turnaround.
  • chord alterations such as minor chords, diminished sevenths, etc.[10]

1950s progression

 
A 50s progression in C

Another common way of extending the I–IV–V progression is by adding the chord of the sixth scale degree, giving the sequence I–vi–IV–V or I–vi–ii–V, sometimes called the 50s progression or doo-wop progression.

This progression had been in use from the earliest days of classical music and then generated popular hits such as Rodgers and Hart's "Blue Moon" (1934)[11] and Hoagy Carmichael's "Heart and Soul" (1938).[12]

Taken up into the pop mainstream, it continued to be used sectionally, as in the last part of The Beatles' "Happiness Is a Warm Gun".[13]

Circle progressions

 
A circle progression in C major
 
The ragtime progression (E7–A7–D7–G7) often appears in the bridge of jazz standards.[14] The III7–VI7–II7–V7 (or V7/V/V/V–V7/V/V–V7/V–V7) leads back to C major (I) but is itself indefinite in key.

Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of circle progression. These, named for the circle of fifths, consist of "adjacent roots in ascending fourth or descending fifth relationship"—for instance, the sequence vi–ii–V–I ascends with each successive chord to one a fourth above the previous. Such a motion, based upon close harmonic relations, offers "undoubtedly the most common and the strongest of all harmonic progressions".[15] Short cyclical progressions may be derived by selecting a sequence of chords from the series completing a circle from the tonic through all seven diatonic chords:[15]

I–IV–viio–iii–vi–ii–V–I

This type of progression was much used by classical composers, who introduced increasingly subtle inflections. Particularly, substitution of major for minor chords giving, for example, I–VI–II–V allowed a more sophisticated chromaticism as well as the possibility of modulation. These harmonic conventions were taken up by American popular entertainers, giving rise to many variations on those harmonic staples of early jazz that have been dubbed the ragtime progression and the stomp progression. All such progressions may be found used sectionally, as for example in the much-used "rhythm changes" of George Gershwin's "I Got Rhythm".

Harmonizing the scale

As well as the cyclical underpinning of chords, the ear tends to respond well to a linear thread; chords following the scale upwards or downwards. These are often referred to as step progressions[16] because they follow the steps of the scale, making the scale itself a bassline. In the 17th century, descending bass lines found favour for "divisions on the ground", so that Pachelbel's canon contains very similar harmonizations of the descending major scale.

At its simplest, this descending sequence may simply introduce an extra chord, either III or V, into the I–vi–IV–V type of sequence described above. This chord allows the harmonization of the seventh degree, and so of the bass line I–VII–VI....

The finale measures of the first movement of Ravel's Piano Concerto in G feature the harmonization of a descending hybrid scale (phrygo-major). In this special case, Ravel used a parallel series of major triads (G F E D C B A G).

Minor and modal progressions

 
A typical Andalusian cadence por arriba (i.e. in A minor). G is the subtonic and G is the leading tone.

Similar strategies to all the above, work equally well in minor modes: there have been one-, two-, and three-minor-chord songs, minor blues. A notable example of a descending minor chord progression is the four-chord Andalusian cadence, i–VII–VI–V.

Folk and blues tunes frequently use the Mixolydian scale, which has a flat seventh degree, altering the position of the three major chords to I–VII–IV. For example, if the major scale of C, which gives the three chords C, F and G on the first, fourth and fifth degrees, is played with G as the tonic, then the same chords will now appear on the first, fourth, and seventh degrees. A common chord progression with these chords is I-VII–IV-I, which also can be played as I-I-VII–IV or VII–IV-I-I.

The minor-third step from a minor key up to the relative major encouraged ascending scale progressions, particularly based on an ascending pentatonic scale. Typical of the type is the sequence i–III–IV (or iv)–VI.

According to Tom Sutcliffe:[17]

... during 1960s some pop groups started to experiment with modal chord progressions as an alternative way of harmonizing blues melodies. ... This created a new system of harmony that has influenced subsequent popular music.

This came about partly from the similarity of the blues scale to modal scales and partly from the characteristics of the guitar and the use of parallel major chords on the pentatonic minor scale. With barre chords on guitar, the same chord shape can be moved up and down the neck without changing the fingering. This phenomenon is also linked to the rise in use of power chords in various sub-genres of rock music.

See also

References

  1. ^ George Whitefield Chadwick, Harmony: A Course of Study, 72nd ed. B. F.Wood Music, 1922, Introduction p. xv
  2. ^ a b Schoenberg, Arnold. Structural Functions of Harmony, Norton, 1954, p. 1.
  3. ^ Chadwick, 1922, p.1
  4. ^ C. H. Kitson, Elementary Harmony, Part One, Oxford University Press, 1920, chapters 3–4.
  5. ^ Jeff Pressing (2002). "Black Atlantic Rhythm: Its Computational and Transcultural Foundations". Music Perception. University of California Press. 19 (3): 285–310. doi:10.1525/mp.2002.19.3.285. JSTOR 10.1525/mp.2002.19.3.285.
  6. ^ (PDF). Archived from the original (PDF) on 19 July 2011. Retrieved 6 May 2011.{{cite web}}: CS1 maint: archived copy as title (link)
  7. ^ Von, Tress, Don; Ray, Cyrus, Billy (26 August 2002). "Achy Breaky Heart". Musicnotes.com. Retrieved 1 August 2019.
  8. ^ "The Isley Brothers "Shout" Sheet Music in F Major (transposable)". Musicnotes.com. 23 August 2010. Retrieved 17 July 2016.
  9. ^ "Chord Progressions". guitaralliance.com. Retrieved 1 February 2019.
  10. ^ Steedman, M. J., "A Generative Grammar for Jazz Chord Sequences", Music Perception 2 (1) (1984) 52–77.
  11. ^ "Jazz Standards Songs and Instrumentals (Blue Moon)". www.jazzstandards.com. Retrieved 22 May 2019.
  12. ^ "Heart and Soul (1938) ", MusicNotes.com. Chords marked. (subscription required)
  13. ^ "Happiness Is A Warm Gun". The Beatles Bible. 15 March 2008. Retrieved 17 July 2016.
  14. ^ Boyd, Bill (1997). Jazz Chord Progressions, p. 56. ISBN 0-7935-7038-7.
  15. ^ a b Benward, Bruce; Saker, Marilyn (2003). Music: In Theory and Practice. Vol. I (7th ed.). p. 178. ISBN 978-0-07-294262-0.
  16. ^ Mount, Andre. "12. Basic Two-Voice Interval Progressions". Milne Library. Retrieved 18 September 2020.
  17. ^ Sutcliffe, Tom. "Appendix A (Pt. 4)". Pop and Rock Music Modal Blues Progressions. Syntactic Structures in Music. Retrieved 22 July 2008.

Further reading

  • Lloyd, Peter (2014). The Secret Life of Chords: A guide to chord progressions and composition. Australian eBook Publisher. ISBN 9781925029765.
  • Middleton, Richard (1990/2002). "Studying Popular Music". Philadelphia: Open University Press. ISBN 0-335-15275-9.
  • Nettles, Barrie & Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony. Advance Music, ISBN 3-89221-056-X.
  • R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW

chord, progression, musical, composition, chord, progression, harmonic, progression, informally, chord, changes, used, plural, succession, chords, foundation, harmony, western, musical, tradition, from, common, practice, classical, music, 21st, century, founda. In a musical composition a chord progression or harmonic progression informally chord changes used as a plural is a succession of chords Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century Chord progressions are the foundation of popular music styles e g pop music rock music traditional music as well as genres such as blues and jazz In these genres chord progressions are the defining feature on which melody and rhythm are built source Audio playback is not supported in your browser You can download the audio file A IV V I progression in the key of C major The chords shown are F major G major and C major In tonal music chord progressions have the function of either establishing or otherwise contradicting a tonality the technical name for what is commonly understood as the key of a song or piece Chord progressions such as the common chord progression I vi ii V are usually expressed by Roman numerals in Classical music theory In many styles of popular and traditional music chord progressions are expressed using the name and quality of the chords For example the previously mentioned chord progression in the key of C major would be written as C major A minor D minor G major in a fake book or lead sheet In the first chord C major the C indicates that the chord is built on the root note C and the word major indicates that a major chord is built on this C note In rock and blues musicians also often refer to chord progressions using Roman numerals as this facilitates transposing a song to a new key For example rock and blues musicians often think of the 12 bar blues as consisting of I IV and V chords Thus a simple version of the 12 bar blues might be expressed as I I I I IV IV I I V IV I I By thinking of this blues progression in Roman numerals a backup band or rhythm section could be instructed by a bandleader to play the chord progression in any key For example if the bandleader asked the band to play this chord progression in the key of C major the chords would be C C C C F F C C G F C C if the bandleader wanted the song in G major the chords would be G G G G C C G G D C G G and so on The complexity of a chord progression varies from genre to genre and over different historical periods Some pop and rock songs from the 1980s to the 2010s have fairly simple chord progressions Funk emphasizes the groove and rhythm as the key element so entire funk songs may be based on one chord Some jazz funk songs are based on a two three or four chord vamp Some punk and hardcore punk songs use only a few chords On the other hand bebop jazz songs may have 32 bar song forms with one or two chord changes every bar Contents 1 Basic theory 1 1 Diatonic and chromatic chords 1 2 Progressions 2 Common progressions 2 1 Simple progressions 2 2 Three chord progressions 2 3 Blues changes 2 4 1950s progression 2 5 Circle progressions 3 Harmonizing the scale 4 Minor and modal progressions 5 See also 6 References 7 Further readingBasic theory Edit The key note or tonic of a piece of music is called note number one the first step of here the ascending scale iii IV V Chords built on several scale degrees are numbered likewise Thus the chord progression E minor F G can be described as three four five or iii IV V A chord may be built upon any note of a musical scale Therefore a seven note diatonic scale allows seven basic diatonic triads each degree of the scale becoming the root of its own chord 1 A chord built upon the note E is an E chord of some type major minor diminished etc Chords in a progression may also have more than three notes such as in the case of a seventh chord V7 is particularly common citation needed or an extended chord The harmonic function of any particular chord depends on the context of the particular chord progression in which it is found 2 Diatonic and chromatic chords Edit The diatonic harmonization of any major scale results in three major triads which are based on the first fourth and fifth scale degrees The triads are referred to as the tonic chord in Roman numeral analysis symbolized by I the subdominant chord IV and the dominant chord V respectively 3 These three triads include and therefore can harmonize every note of that scale Many simple traditional music folk music and rock and roll songs use only these three chord types e g The Troggs Wild Thing which uses I IV and V chords The same major scale also has three minor chords the supertonic chord ii mediant chord iii and submediant chord vi respectively These chords stand in the same relationship to one another in the relative minor key as do the three major chords so that they may be viewed as the first i fourth iv and fifth v degrees of the relative minor key For example the relative minor of C major is A minor and in the key of A minor the i iv and v chords are A minor D minor and E minor In practice in a minor key the third of the dominant chord is often raised by one semitone to form a major chord or a dominant seventh chord if the seventh is added In addition the seventh degree of the major scale i e the leading tone forms a diminished chord viio 4 A chord may also have chromatic notes that is notes outside of the diatonic scale Perhaps the most basic chromatic alteration in simple folk songs is the raised fourth degree that results when the third of the ii chord is raised one semitone Such a chord typically functions as the secondary dominant of the V chord V V In some instances chromatic notes are introduced to modulate to a new key This in turn may lead to a resolution back to the original key later on so that the entire sequence of chords helps create an extended musical form and a sense of movement Progressions Edit Although there are many possible progressions in practice progressions are often limited to a few bars lengths and certain progressions are favored above others There is also a certain amount of fashion in which a chord progression is defined e g the 12 bar blues progression and may even help in defining an entire genre citation needed In western classical notation chords are numbered with Roman numerals Other types of chord notation have been devised from figured bass to the chord chart These usually allow or even require a certain amount of improvisation Common progressions EditSimple progressions Edit Diatonic scales such as the major and minor scales lend themselves particularly well to the construction of common chords because they contain many perfect fifths Such scales predominate in those regions where harmony is an essential part of music as for example in the common practice period of western classical music In considering Arab and Indian music where diatonic scales are used there are also available a number of non diatonic scales the music has no chord changes remaining always upon the key chord an attribute which has also been observed in hard rock hip hop 5 funk disco 6 jazz etc Alternation between two chords may be thought of as the most basic chord progression Many well known pieces are built harmonically upon the mere repetition of two chords of the same scale 2 For example many of the more straightforward melodies in classical music consist entirely or mostly of alternation between the tonic I and the dominant V sometimes with an added seventh as do popular songs such as Achy Breaky Heart 7 The Isley Brothers Shout uses I vi throughout 8 Three chord progressions Edit See also Three chord song Three chord progression are more common since a melody may then dwell on any note of the scale They are often presented as successions of four chords as shown below in order to produce a binary harmonic rhythm but then two of the four chords are the same I IV V V I I IV V I IV I V I IV V IVOften the chords may be selected to fit a pre conceived melody but just as often it is the progression itself that gives rise to the melody Similar progressions abound in African popular music They may be varied by the addition of sevenths or other scale degrees to any chord or by substitution of the relative minor of the IV chord to give for example I ii V This sequence using the ii chord is also used cadentially in a common chord progression of jazz harmony the so called ii V I turnaround Three chord progressions provide the harmonic foundation of much African and American popular music and they occur sectionally in many pieces of classical music such as the opening bars of Beethoven s Pastoral Symphony 9 Where such a simple sequence does not represent the entire harmonic structure of a piece it may readily be extended for greater variety Frequently an opening phrase has the progression I IV V V which ends on an unresolved dominant may be answered by a similar phrase that resolves back onto the tonic chord giving a structure of double the length I IV V VI IV V IAdditionally such a passage may be alternated with a different progression to give a simple binary or ternary form such as that of the popular 32 bar form see musical form Blues changes Edit Blues progressions influenced a great deal of 20th century American popular music The 12 bar blues and its many variants use an elongated three line form of the I IV V progression that has also generated countless hit records including the most significant output of rock and rollers such as Chuck Berry and Little Richard In its most elementary form and there are many variants the chord progression is I I I IIV IV I IV IV I IBlues progressions have also been subjected to densely chromatic elaboration as in the Bird blues Steedman 1984 proposed that a set of recursive rewrite rules generate all well formed transformations of jazz both basic blues chord changes and slightly modified sequences such as the rhythm changes Important transformations include replacement of or addition to a chord with its dominant subdominant or the tritone substitution use of chromatic passing chords extensively applying the ii V I turnaround chord alterations such as minor chords diminished sevenths etc 10 1950s progression Edit source Audio playback is not supported in your browser You can download the audio file A 50s progression in C Another common way of extending the I IV V progression is by adding the chord of the sixth scale degree giving the sequence I vi IV V or I vi ii V sometimes called the 50s progression or doo wop progression This progression had been in use from the earliest days of classical music and then generated popular hits such as Rodgers and Hart s Blue Moon 1934 11 and Hoagy Carmichael s Heart and Soul 1938 12 Taken up into the pop mainstream it continued to be used sectionally as in the last part of The Beatles Happiness Is a Warm Gun 13 Circle progressions Edit source Audio playback is not supported in your browser You can download the audio file A circle progression in C major source Audio playback is not supported in your browser You can download the audio file The ragtime progression E7 A7 D7 G7 often appears in the bridge of jazz standards 14 The III7 VI7 II7 V7 or V7 V V V V7 V V V7 V V7 leads back to C major I but is itself indefinite in key Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of circle progression These named for the circle of fifths consist of adjacent roots in ascending fourth or descending fifth relationship for instance the sequence vi ii V I ascends with each successive chord to one a fourth above the previous Such a motion based upon close harmonic relations offers undoubtedly the most common and the strongest of all harmonic progressions 15 Short cyclical progressions may be derived by selecting a sequence of chords from the series completing a circle from the tonic through all seven diatonic chords 15 I IV viio iii vi ii V IThis type of progression was much used by classical composers who introduced increasingly subtle inflections Particularly substitution of major for minor chords giving for example I VI II V allowed a more sophisticated chromaticism as well as the possibility of modulation These harmonic conventions were taken up by American popular entertainers giving rise to many variations on those harmonic staples of early jazz that have been dubbed the ragtime progression and the stomp progression All such progressions may be found used sectionally as for example in the much used rhythm changes of George Gershwin s I Got Rhythm Harmonizing the scale EditThis article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Chord progression news newspapers books scholar JSTOR June 2019 Learn how and when to remove this template message As well as the cyclical underpinning of chords the ear tends to respond well to a linear thread chords following the scale upwards or downwards These are often referred to as step progressions 16 because they follow the steps of the scale making the scale itself a bassline In the 17th century descending bass lines found favour for divisions on the ground so that Pachelbel s canon contains very similar harmonizations of the descending major scale At its simplest this descending sequence may simply introduce an extra chord either III or V into the I vi IV V type of sequence described above This chord allows the harmonization of the seventh degree and so of the bass line I VII VI The finale measures of the first movement of Ravel s Piano Concerto in G feature the harmonization of a descending hybrid scale phrygo major In this special case Ravel used a parallel series of major triads G F E D C B A G Minor and modal progressions EditThis article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Chord progression news newspapers books scholar JSTOR June 2019 Learn how and when to remove this template message source Audio playback is not supported in your browser You can download the audio file A typical Andalusian cadence por arriba i e in A minor G is the subtonic and G is the leading tone Similar strategies to all the above work equally well in minor modes there have been one two and three minor chord songs minor blues A notable example of a descending minor chord progression is the four chord Andalusian cadence i VII VI V Folk and blues tunes frequently use the Mixolydian scale which has a flat seventh degree altering the position of the three major chords to I VII IV For example if the major scale of C which gives the three chords C F and G on the first fourth and fifth degrees is played with G as the tonic then the same chords will now appear on the first fourth and seventh degrees A common chord progression with these chords is I VII IV I which also can be played as I I VII IV or VII IV I I The minor third step from a minor key up to the relative major encouraged ascending scale progressions particularly based on an ascending pentatonic scale Typical of the type is the sequence i III IV or iv VI According to Tom Sutcliffe 17 during 1960s some pop groups started to experiment with modal chord progressions as an alternative way of harmonizing blues melodies This created a new system of harmony that has influenced subsequent popular music This came about partly from the similarity of the blues scale to modal scales and partly from the characteristics of the guitar and the use of parallel major chords on the pentatonic minor scale With barre chords on guitar the same chord shape can be moved up and down the neck without changing the fingering This phenomenon is also linked to the rise in use of power chords in various sub genres of rock music See also EditChromatic mediant Diatonic function Ear training List of chord progressions List of songs containing the 50s progression List of songs containing the I V vi IV progression Montgomery Ward bridge Passamezzo moderno Passing chord Root progressions Sequence music Twelve bar blues Traditional sub Saharan African harmonyReferences Edit George Whitefield Chadwick Harmony A Course of Study 72nd ed B F Wood Music 1922 Introduction p xv a b Schoenberg Arnold Structural Functions of Harmony Norton 1954 p 1 Chadwick 1922 p 1 C H Kitson Elementary Harmony Part One Oxford University Press 1920 chapters 3 4 Jeff Pressing 2002 Black Atlantic Rhythm Its Computational and Transcultural Foundations Music Perception University of California Press 19 3 285 310 doi 10 1525 mp 2002 19 3 285 JSTOR 10 1525 mp 2002 19 3 285 Archived copy PDF Archived from the original PDF on 19 July 2011 Retrieved 6 May 2011 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Von Tress Don Ray Cyrus Billy 26 August 2002 Achy Breaky Heart Musicnotes com Retrieved 1 August 2019 The Isley Brothers Shout Sheet Music in F Major transposable Musicnotes com 23 August 2010 Retrieved 17 July 2016 Chord Progressions guitaralliance com Retrieved 1 February 2019 Steedman M J A Generative Grammar for Jazz Chord Sequences Music Perception 2 1 1984 52 77 Jazz Standards Songs and Instrumentals Blue Moon www jazzstandards com Retrieved 22 May 2019 Heart and Soul 1938 MusicNotes com Chords marked subscription required Happiness Is A Warm Gun The Beatles Bible 15 March 2008 Retrieved 17 July 2016 Boyd Bill 1997 Jazz Chord Progressions p 56 ISBN 0 7935 7038 7 a b Benward Bruce Saker Marilyn 2003 Music In Theory and Practice Vol I 7th ed p 178 ISBN 978 0 07 294262 0 Mount Andre 12 Basic Two Voice Interval Progressions Milne Library Retrieved 18 September 2020 Sutcliffe Tom Appendix A Pt 4 Pop and Rock Music Modal Blues Progressions Syntactic Structures in Music Retrieved 22 July 2008 Further reading EditLloyd Peter 2014 The Secret Life of Chords A guide to chord progressions and composition Australian eBook Publisher ISBN 9781925029765 Middleton Richard 1990 2002 Studying Popular Music Philadelphia Open University Press ISBN 0 335 15275 9 Nettles Barrie amp Graf Richard 1997 The Chord Scale Theory and Jazz Harmony Advance Music ISBN 3 89221 056 X R Ken 2012 DOG EAR Tritone Substitution for Jazz Guitar Amazon Digital Services Inc ASIN B008FRWNIW Retrieved from https en wikipedia org w index php title Chord progression amp oldid 1131193217, wikipedia, wiki, book, books, library,

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