Chord recognition by fitting rescaled chroma vectors to chord
13 Chord Progresion
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Transcript of 13 Chord Progresion
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ChordProgression
FromFundamentalsofJazzImprovisation:
WhatEverybodyThinksYouAlreadyKnow
Dr.MarkWatkins
DirectorofJazzStudies
BrighamYoungUniversityIdaho
2010byMarkWatkins
Materialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithoutwrittenpermissionfromtheauthor.
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FundamentalChordProgressions
Learningtunesisgreatlyfacilitatedbyrecognizingcommonlyusedchordprogressions.Blues
andRhythmChangesarechordprogressionscoveringtheentirebodyofthetune.Proficiency
cangreatlyenhanceonesrepertoiresincetheformandprogressionareknownandoneonlyneedlearnmelodies.Otherprogressionsarentnearlyaslengthy,norallinclusive,coveringonly
aportionofthecompositionbutstillmaketunelearningeasier.Themoretunesonelearns,the
moreonerecognizessimilaritiescausingtherateoflearningtobeexponential.
CyclesProgressionswhoserootsmovearoundthecircleof5ths
1. TheiiV7I(oriiV7)progressionisthemostcommoninjazz.
SatinDoll,mm.14(DukeEllington)
2. TheminoriiV7altiisalsoverycommon.Alteredsupertonic(ii)andaltereddominantsare
fromtheminormodebutareoftenusedwithamajortonic(modalborrowing).
BlueBossa,mm.58(KennyDorham)
WhatisThisThingCalledLove?,mm.18(ColePorter)
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3. IviiiV7,iiiviiiV7,andiiiVI,iiV7:Themediant(iii)isacommonsubstitutefortonic(I)and
thesubmediant(vi)canbeeitherminor/minor7ormajor/minor7dependinguponthe
melodyorotherfactors;essentially,theyarequitesimilarandofteninterchangeable.When
iiiVIiiV7isused,itislikeachainorcycleofiiV7sexceptthatitislockedtotheiiiVIiiV7
relationshiptotonicwhereasacycleofiiV7smaystartand/orendindifferentkeyareas.
BlueMoon,mm.18(LorenzHartandRichardRodgers)
LetsFallinLove,mm.18(TedKoehlerandHaroldArlen)
Otherexamplesinclude:RhythmChanges,AintMisbehavin,Georgia,AutumnLeaves,Cheekto
Cheek,DontBeThatWay,HaveYouMetMissJones,IsntItRomantic,andMeantoMe.
4. CycleofiiV7s:ThisissimilartoiiiVI7iiV7butwithtwodistinctions:1)thesequencecan
continuebeyondtworepetitions,and2)thecycleisnotrelatedtotonicinthesameway.The
progressionmayleadtoasecondarykeyareaorstartfartherbackaroundthecyclethan
mediant(iii)thenleadtotonic.(BluesforAlice,Confirmation,TheMasqueradeisOver,StellabyStarlight)
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BluesforAlice,mm.15(CharlieParker)
StellabyStarlight,mm.2532(VictorYoungandNedWashington)
5. CycleofV7s:dominantchordswitharootprogressionascendingbyfourths,descendingby
fifths(circleoffifthsprogression).
Twochordsperbar:Jordu,mm.1724[bridge](DukeJordan)
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Onechordperbar:Yesterdays,mm.116(JeromeKernandOttoHarbach)
Onechordeverytwobars:Perdido,mm.1724[bridge](JuanTizol)
Onechordeveryfourbars:SweetGeorgiaBrown,mm.116(BenBernie,MaceoPinkardand
KennethCasey)
Twochordsperbar:NiceWorkifYouCanGetItOnechordperbar:BasinStreetBlues,BillBailey,ComeRainorComeShine,Ja Da ,SisterSadie
Onechordeverytwobars:ScrapplefromtheApple,RhythmChanges
Onechordeveryfourbars:Caravan
6. iiV7IIV:cyclerootmovementiiV7IextendedtoIV.ItisoftenfollowedbyaTritone
ResolutiontoV7AlltheThingsYouAre,mm.56,DflattoG)ortoiiV7(AutumnLeaves,mm.
46,EflattoA);thesamesequenceoccursinImagination,mm.24.
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AlltheThingsYouAre,mm18(JeromeKernandOscarHammersteinII)
AutumnLeaves,mm.18(JosephKosmaandJohnnyMercer)
Otherexamplesinclude:Imagination(see#15.DiminishedPassingChordbelow)
iiV7andiiV7ISequences
7. ChromaticiiV7:TheChromaticiiV7sequencecanascendordescend.ThelastiiV7can
resolveinacycleiiV7I(Laura,Stablemates)orasatritonesubstitution(BluesforAlice).
MomentsNotice,mm.58(JohnColtrane):ChromaticiiV7(ascending)
Laura,mm.2930(JohnnyMercerandDavidRaksin):ChromaticiiV7(descending)withiiV7I
resolution
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Tritonesubstitutionderivative:
Stablemates,mm.13,2325(BennyGolson):ChromaticiiV7withiiV7Iresolution
BluesforAlice,mm.510(CharlieParker):ChromaticiiV7withTritonesubstitution/resolution
Otherexamplesinclude:LoverManm.7,YouSteppedOutofaDreammm.1516
8. V7descendingbysteps(chromatic):(twoperbar:ICantGetStarted,PreludetoaKiss,
Sophisticatedlady,WellYouNeednt,oneperbar:Nutville,OnGreenDolphinStreet[major],
Stablemates)
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EternalTriangle,mm.1724(SonnyStitt):V7=iiV7
Nutville,mm1720(HoraceSilver)
9. CycleofiiV7Idescendingbywholestep:G|C7|F|F|F|Bflat7|Eflat|Eflat|etc.;
majorconvertstominorbecomingiiofiiV7I;newmajorconvertstominorbecomingiiofii
V7I,etc.Insometunes,thepatternbeginswithtwobarsofmajorasinHowHightheMoon.
Thepatternwithmajorofthekeyfirstfollowedbythewholestepdescendingsequence,asin
HowHightheMoon,canbefoundinothertunes>
HowHightheMoon,mm.19(MorganLewis)
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Cherokee,mm.3348[bridge](RayNoble)
AlmostLikeBeinginLove,mm.1724(AlanJayLernerandFrederickLowe):iiV7Idescending
bywholesteps;majorshiftingtominorfromm.19tom.21
TuneUp,mm.111(MilesDavis)
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Otherexamplesinclude:Bebop,ICantGetStarted,JoySpring,LoverMan,Milestones[bridge],
OneNoteSamba[bridge],Ornithology,SecretLove,Solar,ThingstoCome,TuneUp,Wave,Whatis
ThisThingCalledLove,
10.Ascendingminor3rdiiV7Iprogression:C|F7|Bb|Bb|Eb|Ab7|Db|etc.;commonon
bridge.
Confirmation,mm.1724(CharlieParker):ascendingminor3rd(BflattoDflat)iiV7I
progression;BflattoEflatcyclerootmovementfromm.20tom.21
OnGreenDolphinStreet,mm.1724(NedWashingtonandBronislauKaper)
11.Descendingminor3rdiiV7Iprogression:C|F7|Bb|Bb|A|D7|G|G|F#|B7|E|E|
Eb|Ab7|Dbetc.;commononbridge.
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IllRememberApril,mm.2532(DonRaye,GeneDePaulandPatJohnston):descendingminor
3rd(GtoE)iiV7Iprogression;descendingchromaticrootmovement(GtoFsharp),mm.27
29
AlltheThingsYouAre,mm.1724(JeromeKernandOscarHammersteinII)
12.Ascendingbywholestep:oftenasabridge.
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OntheSunnySideoftheStreet,mm.1724(DorothyFieldsandJimmyMcHugh)
HoneysuckleRose,mm.1724(AndyRazafandThomasWaller)
Otherexamplesinclude:SatinDoll,ItDontMeanaThing,PenniesfromHeaven(mm.916),TheSurreywiththeFringeonTop.
TritoneConcepts
13.TirtoneSubstitutioninaiiV7IProgression
OneNoteSamba,mm.18(AntonioCarlosJobim)
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14.ChromaticallyDescendingV7s:Oftencreatedbyatritonesubstitutiononeveryotherchord
ofadominantcycle,theycanbeplacedstartingoneitherthefirstorsecondchordofthe
cycle.
RhythmChangesSubstitution,mm.1724[bridge]:Theuseoftritonesubstitutionsonmm.34
and78ofthebridgecreatesachromaticallydescendingsequence.
Locomotion,mm.1320[bridge](JohnColtrane):Cotranestunedemonstrateshowtritone
substitutionscanbeplacedonmm.12and56.
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15.ChromaticallyDescendingiiV7Sequence(tritonesubtodominants,i.e.E,Eflat,D,Dflat,C,
B,resolvetoBflat)
ThirdRail,mm.1724[bridge](MichaelBrecker)
Otherexamplesinclude:TheEternalTriangle,mm.1724[bridge](SonnyStitt),BluesforAlice,
710(CharlieParker),SatinDoll,mm.58(DukeEllington)
16.TritoneResolutions:Chordmovementwhoserootsareatritoneapart,thisprogressionis
oftenfoundwithinaphraseorasthecadencetoaphrase(TTCadence).Mostoftenthefirst
chordisdominantbutmovementtoandfromotherqualitiesarenotuncommon,including
tritoneiiV7sequences(TTiiV7Progression).
MomentsNotice,mm.118[after22barintro](JohnColtrane)
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17.#ivVII7I:Sharp4isatritoneabovetonic,VII7isdominantinqualityratherthanfullyor
halfdiminished.
GroovinHigh,mm.14(DizzyGillespie)
AlmostLikeBeinginLove,mm2125(AlanJayLernerandFrederickLowe)
Otherexamplesinclude;AnEveiningThought,ImGettingSentimentalOverYou,NightandDay,
Whispering
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MediantRelationships
Mediants:Intonalharmonymediantishalfwaybetweentonicanddominant.Submediantis
halfwaybetweentonicandsubdominantdescending.TheexamplebelowisintrebleclefwithC
beingtonic.
Amediantrelationshipinachordprogressionisanychordthatisa3rdawayfromthepresent
chordineitherdirection.Therearetwotypesofmediants:1)diatonicmediant,and2)chromatic
mediant.Adiatonicmediantstayswithinthekeysignatureofthepresentchord.Achromatic
medianthasatleastonenoteinthenewchordthatisoutsidethekeysignatureofthepresent
chord.Chromaticmediantprogressionsusuallyhaveatleastonecommontonebetweenthetwo
chordsbutinjazztheydontalways.
MediantWheel
Linesindicatepossibilities
frompoint(C).
Compass
Turnoutsidewheellikea
compass.
Clock
Turninsidearmslikeaclock.
DiatonicMediants:CmajortoAminor,orCmajortoEminor(extensionsmayvary).
ChromaticMediants(withcommontones):CmajortoEmajor,E7,Eflatmajor,Eflat7,Amajor,
A7,Aflatmajor,Aflat7,orAflatminor.
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ChromaticMediants(withnocommontones):CmajortoEflatminor,Amajor7sharp5,orany
otheralteredchordthatcontainsnocommontones.
18.Chromaticmediantscanmovefromanychordqualitytoanyotherchordqualityaslongas
theirrootsareamajororminor3rdapart,upordownfromthefirstchordtothesecond.
BerniesTune,mm.14(BernieMiller)
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AllofMe,mm.1726(SeymourSimonsandGeraldMarks)
19.ColtraneChanges:ThisprogressionisfoundintunessuchasGiantStepsandisoftenusedas
turnaroundsubstitutions.Thepatternis:upaminor3rd,downaperfect5th,upaminor3rd,
downaperfect5th,upaminor3rd,downaperfect5th.
GiantSteps,mm.15(JohnColtrane)
Countdown,mm.14(JohnColtrane):mm.58sameprogressioninC,mm.912same
progressioninBflat.
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AdditionalPossibilities
20.I|I|II7|II7|ii|V7|I
TaketheATrain,mm.18(DukeEllington)
TheGirlfromIpanema,mm.18(AntonioCarlosJobim)
Otherexamplesinclude:Desafinado,IGotIBad,JerseyBounce,Solitude
21.
Intheminormodethesubdominantisminor(iv).Thechordbuiltonthe7thscaledegreeis
subtonic(VII7)withnoneedtoplaceaflatsignbeforetheRomannumeral;itsqualityis
major/minor7(dominant).OftenwheninamajorkeyaflatisplacedbeforetheVIIto
indicatethatitisnotthechordbuiltontheleadingtone.Iessence,thisprogressionisborrowedfromtheminormode.
JustFriends,mm.15(JohnKlennerandSamM.Lewis)
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ThereWillNeverBeAnotherYou,mm.912(HarryWarrenandMackGordon)
IGotRhythm,mm.58(GeorgeGershwin)
Otherexamplesinclude:BlueDaniel,GroovinHigh,StellabyStarlight(,Misty,andmanyothers(verycommon).
22.Chromaticdescendingrootsstartingontritoneoftonic(orresolution):
#iviviiibiiiiibII7Ior#iviviiivii/iiiiV7I;chordqualitiesmayvary;oftenasintroorending.
NightandDay,mm.916(ColePorter)
WhenSunnyGetsBlue,mm.58(JackSegalandMarvinFisher)
Otherexamplesinclude:Emily,OneNoteSamba
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23.Diminishedpassingchords(jazzrhythm):BbB|CC#|D(subfor1sttwobarsofRhythm
Changes,AintMisbehavin,HaveYouMetMissJones,IRememberClifford,Imagination,Itcould
HappentoYou,MoonlightBecomesYou
RhythmChanges,mm.12oftheAsections,mostoftenthe1stAsectionandafterthebridge,but
canoccurinmm.34ofanAsection.
Imagination,mm.12(JimmyVanHeusenandJohnnyBurke)