13 Chord Progresion

8/6/2019 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)

13 Chord Progresion

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