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470:) 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
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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,
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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. For example, many of the more straightforward melodies in classical music consist entirely or mostly of
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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
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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 because they follow the steps of the scale, making the scale itself a
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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
1520:... 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.
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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
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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
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Three-chord progressions 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
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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.
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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
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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
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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
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progressions". 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:
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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
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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
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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
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1128:. These harmonic conventions were taken up by American popular entertainers, giving rise to many variations on those harmonic staples of early
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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
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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 B
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347:, 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
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in
Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and "
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133:" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by
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375:(major, minor, diminished, etc.) Chords in a progression may also have more than three notes, such as in the case of a
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This progression had been in use from the earliest days of classical music and then generated popular hits such as
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are numbered likewise. Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V).
605:. Such scales predominate in those regions where harmony is an essential part of music, as, for example, in the
208:, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the
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Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of
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Taken up into the pop mainstream, it continued to be used sectionally, as in the last part of The
Beatles' "
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of any particular chord depends on the context of the particular chord progression in which it is found.
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In tonal music, chord progressions have the function of either establishing or otherwise contradicting a
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scales lend themselves particularly well to the construction of common chords because they contain many
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1093:. The III–VI–II–V (or V/V/V/V–V/V/V–V/V–V) leads back to C major (I) but is itself indefinite in key.
122:. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
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back to the original key later on, so that the entire sequence of chords helps create an extended
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Jeff
Pressing (2002). "Black Atlantic Rhythm: Its Computational and Transcultural Foundations".
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Middleton, Richard (1990/2002). "Studying
Popular Music". Philadelphia: Open University Press.
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A IV–V–I progression in the key of C major. The chords shown are F major, G major, and C major.
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and partly from the characteristics of the guitar and the use of parallel major chords on the
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Additionally, such a passage may be alternated with a different progression to give a simple
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141:" of the chords. For example, the previously mentioned chord progression, in the key of E
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1140:. All such progressions may be found used sectionally, as for example in the much-used "
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Blues progressions have also been subjected to densely chromatic elaboration, as in the
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466:(vi), respectively. These chords stand in the same relationship to one another (in the
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of jazz, both basic blues chord changes and slightly modified sequences (such as the "
863:. In its most elementary form (and there are many variants), the chord progression is
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notes, that is, notes outside of the diatonic scale. Perhaps the most basic chromatic
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and rhythm as the key element, so entire funk songs may be based on one chord. Some
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of the dominant chord is often raised by one semitone to form a major chord (or a
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Blues progressions influenced a great deal of 20th century
American popular music
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705:, but just as often it is the progression itself that gives rise to the melody.
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fourth, and seventh degrees. A common chord progression with these chords is I-
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1472:. A notable example of a descending minor chord progression is the four-chord
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replacement of (or addition to) a chord with its dominant, subdominant or the
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encouraged ascending scale progressions, particularly based on an ascending
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of the V chord (V/V). In some instances, chromatic notes are introduced to
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1297:). In this special case, Ravel used a parallel series of major triads (G F
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In rock and blues, musicians also often refer to chord progressions using
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alternation between the tonic (I) and the dominant (V, sometimes with an
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The Secret Life of Chords: A guide to chord progressions and composition
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of the IV chord to give, for example, I–ii–V. This sequence, using the
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of its own chord. A chord built upon the note E is an E chord of some
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contains very similar harmonizations of the descending major scale.
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423:, (V), respectively. These three triads include, and therefore can
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2278:
1855:
Steedman, M. J., "A Generative
Grammar for Jazz Chord Sequences",
1806:"The Isley Brothers "Shout" Sheet Music in F Major (transposable)"
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notation, chords are numbered with Roman numerals. Other types of
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chord alterations such as minor chords, diminished sevenths, etc.
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1267:. In the 17th century, descending bass lines found favour for
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to the 21st century. Chord progressions are the foundation of
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In addition, the seventh degree of the major scale (i.e. the
324:
129:, the technical name for what is commonly understood as the "
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1513:. Typical of the type is the sequence i–III–IV (or iv)–VI.
1468:: there have been one-, two-, and three-minor-chord songs,
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Similar strategies to all the above, work equally well in
577:. These usually allow or even require a certain amount of
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1972:. Vol. I (7th ed.). McGraw-Hill. p. 178.
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feature the harmonization of a descending hybrid scale (
379:(V is particularly common, as it resolves to I) or an
1765:
Von, Tress, Don; Ray, Cyrus, Billy (26 August 2002).
554:
progression) and may even help in defining an entire
1873:"Jazz Standards Songs and Instrumentals (Blue Moon)"
1643:, 72nd ed. B. F.Wood Music, 1922, Introduction p. xv
1353:. Unsourced material may be challenged and removed.
1190:. Unsourced material may be challenged and removed.
1583:List of songs containing the I–V–vi–IV progression
1524:This came about partly from the similarity of the
772:" by a similar phrase that resolves back onto the
504:in simple folk songs is the raised fourth degree (
403:, which are based on the first, fourth, and fifth
2089:, Amazon Digital Services, Inc., ASIN: B008FRWNIW
923:Steedman (1984) proposed that a set of recursive
311:songs are based on a two-, three-, or four-chord
2608:
2016:Sutcliffe, Tom. "Appendix A (Pt. 4)".
1505:The minor-third step from a minor key up to the
676:, but then two of the four chords are the same.
390:
323:songs use only a few chords. On the other hand,
1318:
761:has the progression I–IV–V–V, which ends on an
1684:, Oxford University Press, 1920, chapters 3–4.
2485:
2108:
1693:
1285:The finale measures of the first movement of
439:songs use only these three chord types (e.g.
2087:DOG EAR Tritone Substitution for Jazz Guitar
2070:Nettles, Barrie & Graf, Richard (1997).
1967:
1790:: CS1 maint: multiple names: authors list (
1651:
1649:
1578:List of songs containing the 50s progression
2019:Pop and Rock Music Modal Blues Progressions
1995:"12. Basic Two-Voice Interval Progressions"
776:, giving a structure of double the length:
661:
609:of western classical music. In considering
181:" indicates that the chord is built on the
86:. Chord progressions are the foundation of
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2115:
2101:
1963:
1961:
1490:VII–IV-I, which also can be played as I-I-
525:. Such a chord typically functions as the
2009:
1646:
1413:Learn how and when to remove this message
1250:Learn how and when to remove this message
720:) to any chord or by substitution of the
533:to a new key. This in turn may lead to a
331:with one or two chord changes every bar.
1479:Folk and blues tunes frequently use the
1155:
838:
712:. They may be varied by the addition of
427:, every note of that scale. Many simple
367:, each degree of the scale becoming the
355:A chord may be built upon any note of a
338:
191:" and the word "major" indicates that a
2072:The Chord Scale Theory and Jazz Harmony
1968:Benward, Bruce; Saker, Marilyn (2003).
1958:
1618:Traditional sub-Saharan African harmony
1282:, and so of the bass line I–VII–VI....
938:"). Important transformations include:
14:
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2122:
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90:in Western musical tradition from the
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2015:
1351:adding citations to reliable sources
1322:
1188:adding citations to reliable sources
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701:Often the chords may be selected to
450:The same major scale also has three
407:. The triads are referred to as the
447:", which uses I, IV and V chords).
24:
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1925:. The Beatles Bible. 15 March 2008
395:The diatonic harmonization of any
25:
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1992:
1451:(i.e. in A minor). G is the
732:in a common chord progression of
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1327:
1164:
949:use of chromatic passing chords.
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646:), as do popular songs such as "
511:
2022:. Syntactic Structures in Music
1986:
1937:
1915:
1895:
1865:
1849:
1660:Structural Functions of Harmony
1338:needs additional citations for
1175:needs additional citations for
1085:(E–A–D–G) often appears in the
708:Similar progressions abound in
544:
334:
2048:. Australian eBook Publisher.
1824:
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1704:University of California Press
1687:
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1124:as well as the possibility of
521:of the ii chord is raised one
13:
1:
1970:Music: In Theory and Practice
1734:"Chapter 15---Funk and Disco"
1623:
391:Diatonic and chromatic chords
1682:Elementary Harmony, Part One
1516:According to Tom Sutcliffe:
1430:
1319:Minor and modal progressions
1067:
1039:
973:
823:such as that of the popular
230:major, the chords would be B
147:major, would be written as E
114:, as well as genres such as
43:
29:Succession of musical chords
7:
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1551:
10:
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2562:List of chord progressions
2461:List of chord progressions
1641:Harmony: A Course of Study
1637:George Whitefield Chadwick
1573:List of chord progressions
1132:that have been dubbed the
703:fit a pre-conceived melody
665:
415:, symbolized by "I"), the
359:. Therefore, a seven-note
34:List of chord progressions
31:
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1923:"Happiness Is A Warm Gun"
1544:in various sub-genres of
952:extensively applying the
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541:and a sense of movement.
220:could be instructed by a
1720:10.1525/mp.2002.19.3.285
1712:10.1525/mp.2002.19.3.285
1271:on the ground", so that
1000:or doo-wop progression.
662:Three-chord progressions
658:" uses I–vi throughout.
569:have been devised, from
517:) that results when the
165:major in a fake book or
2319:Tadd Dameron turnaround
1945:Jazz Chord Progressions
1911:(subscription required)
1435:download the audio file
1106:, consist of "adjacent
1102:. These, named for the
1072:download the audio file
1044:download the audio file
1024:Happiness Is a Warm Gun
996:, sometimes called the
978:download the audio file
169:. In the first chord, E
48:download the audio file
2414:Montgomery-Ward bridge
2394:Royal road progression
2289:Montgomery-Ward bridge
1588:Montgomery-Ward bridge
1534:pentatonic minor scale
1522:
1117:
1115:I–IV–vii–iii–vi–ii–V–I
987:A 50s progression in C
844:
607:common practice period
496:A chord may also have
476:dominant seventh chord
413:Roman numeral analysis
352:
2359:Borrowed (contrafact)
2044:Lloyd, Peter (2014).
1903:Heart and Soul (1938)
1877:www.jazzstandards.com
1662:, Norton, 1954, p. 1.
1518:
1156:Harmonizing the scale
1113:
842:
710:African popular music
342:
82:) is a succession of
2450:Irregular resolution
2228:Backdoor progression
1883:on 27 September 2018
1832:"Chord Progressions"
1347:improve this article
1184:improve this article
944:tritone substitution
327:jazz songs may have
72:harmonic progression
2632:Musical terminology
1943:Boyd, Bill (1997).
1767:"Achy Breaky Heart"
1671:Chadwick, 1922, p.1
1362:"Chord progression"
1291:Piano Concerto in G
1199:"Chord progression"
1134:ragtime progression
1083:ragtime progression
1030:Circle progressions
597:scales such as the
590:Simple progressions
585:Common progressions
363:allows seven basic
195:is built on this "E
92:common practice era
64:musical composition
2622:Chord progressions
2384:Passamezzo moderno
2344:Andalusian cadence
2274:Andalusian cadence
2253:Passamezzo moderno
2153:Constant structure
2124:Chord progressions
1836:guitaralliance.com
1656:Schoenberg, Arnold
1593:Passamezzo moderno
1474:Andalusian cadence
1446:Andalusian cadence
1100:circle progression
1055:circle progression
845:
652:The Isley Brothers
527:secondary dominant
468:relative minor key
353:
2604:
2603:
2537:Chord progression
2467:
2466:
2444:Pachelbel's Canon
2379:Passamezzo antico
2327:
2326:
2294:Passamezzo antico
2248:Sixteen-bar blues
2213:V–IV–I turnaround
2208:ii–V–I turnaround
2074:. Advance Music,
1979:978-0-07-294262-0
1909:. Chords marked.
1862:(1) (1984) 52–77.
1603:Root progressions
1563:Diatonic function
1558:Chromatic mediant
1439:
1423:
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1415:
1397:
1273:Pachelbel's canon
1260:
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1138:stomp progression
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982:
964:1950s progression
954:ii–V–I turnaround
912:
911:
811:
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738:ii–V–I turnaround
648:Achy Breaky Heart
429:traditional music
417:subdominant chord
399:results in three
343:The key note, or
329:32-bar song forms
112:traditional music
68:chord progression
52:
16:(Redirected from
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2627:Jazz terminology
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2494:
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2399:"Rhythm" changes
2369:Coltrane changes
2269:'50s progression
2238:Twelve-bar blues
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2085:R., Ken (2012).
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1857:Music Perception
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1812:. 23 August 2010
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1613:Twelve-bar blues
1608:Sequence (music)
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1013:Hoagy Carmichael
1005:Rodgers and Hart
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736:, the so-called
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157:
152:
151:
146:
145:
21:
2647:
2646:
2642:
2641:
2640:
2638:
2637:
2636:
2607:
2606:
2605:
2600:
2591:
2547:Harmonic rhythm
2503:
2498:
2468:
2463:
2454:
2430:Aeolian harmony
2418:
2323:
2257:
2233:Eight-bar blues
2219:
2218:
2186:
2180:
2165:(Roman-numeral)
2164:
2126:
2121:
2041:
2039:Further reading
2036:
2035:
2025:
2023:
2014:
2010:
2000:
1998:
1997:. Milne Library
1991:
1987:
1980:
1966:
1959:
1942:
1938:
1928:
1926:
1921:
1920:
1916:
1910:
1900:
1896:
1886:
1884:
1871:
1870:
1866:
1854:
1850:
1840:
1838:
1830:
1829:
1825:
1815:
1813:
1804:
1803:
1799:
1783:
1782:
1775:
1773:
1763:
1759:
1749:
1747:
1746:on 19 July 2011
1743:
1736:
1732:
1731:
1727:
1692:
1688:
1679:
1675:
1670:
1666:
1654:
1647:
1635:
1631:
1626:
1554:
1498:
1497:
1492:
1491:
1486:
1485:
1462:
1461:
1460:
1442:
1441:
1440:
1438:
1419:
1408:
1402:
1399:
1356:
1354:
1344:
1332:
1321:
1311:
1310:
1305:
1304:
1299:
1298:
1256:
1245:
1239:
1236:
1193:
1191:
1181:
1169:
1158:
1146:George Gershwin
1096:
1095:
1094:
1079:
1078:
1077:
1075:
1060:
1059:
1058:
1051:
1050:
1049:
1047:
1032:
998:50s progression
990:
989:
988:
985:
984:
983:
981:
966:
932:transformations
837:
728:, is also used
696:I – IV – V – IV
695:
690:
685:
680:
674:harmonic rhythm
670:
664:
599:major and minor
592:
587:
547:
510:
506:
505:
393:
383:. The harmonic
365:diatonic triads
337:
303:emphasizes the
292:
291:
286:
285:
280:
279:
274:
273:
268:
267:
262:
261:
256:
255:
250:
249:
244:
243:
238:
237:
232:
231:
226:
225:
197:
196:
187:
186:
177:
176:
171:
170:
161:
160:
159:major–C minor–A
155:
154:
149:
148:
143:
142:
96:Classical music
60:
59:
58:
55:
54:
53:
51:
36:
30:
23:
22:
15:
12:
11:
5:
2645:
2635:
2634:
2629:
2624:
2619:
2602:
2601:
2594:
2592:
2590:
2589:
2584:
2579:
2574:
2569:
2564:
2559:
2557:List of chords
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2508:
2505:
2504:
2497:
2496:
2489:
2482:
2474:
2465:
2464:
2459:
2456:
2455:
2453:
2452:
2447:
2437:
2432:
2426:
2424:
2420:
2419:
2417:
2416:
2411:
2406:
2401:
2396:
2391:
2386:
2381:
2376:
2371:
2366:
2361:
2356:
2354:"Bird" changes
2351:
2346:
2341:
2335:
2333:
2329:
2328:
2325:
2324:
2322:
2321:
2316:
2311:
2306:
2296:
2291:
2286:
2281:
2276:
2271:
2265:
2263:
2259:
2258:
2256:
2255:
2250:
2245:
2242:"Bird" changes
2235:
2230:
2225:
2215:
2210:
2205:
2199:
2197:
2188:
2182:
2181:
2179:
2178:
2173:
2168:
2160:
2155:
2150:
2145:
2140:
2134:
2132:
2128:
2127:
2120:
2119:
2112:
2105:
2097:
2091:
2090:
2083:
2068:
2057:
2040:
2037:
2034:
2033:
2008:
1993:Mount, Andre.
1985:
1978:
1957:
1936:
1914:
1907:MusicNotes.com
1894:
1864:
1848:
1823:
1810:Musicnotes.com
1797:
1771:Musicnotes.com
1757:
1725:
1686:
1680:C. H. Kitson,
1673:
1664:
1645:
1628:
1627:
1625:
1622:
1621:
1620:
1615:
1610:
1605:
1600:
1595:
1590:
1585:
1580:
1575:
1570:
1565:
1560:
1553:
1550:
1507:relative major
1476:, i–VII–VI–V.
1443:
1432:
1429:
1426:
1425:
1424:
1421:
1420:
1335:
1333:
1326:
1320:
1317:
1280:seventh degree
1258:
1257:
1172:
1170:
1163:
1157:
1154:
1142:rhythm changes
1091:jazz standards
1080:
1069:
1066:
1063:
1062:
1061:
1052:
1041:
1038:
1035:
1034:
1033:
1031:
1028:
1017:Heart and Soul
986:
975:
972:
969:
968:
967:
965:
962:
961:
960:
957:
950:
947:
936:rhythm changes
914:
913:
910:
909:
906:
903:
900:
896:
895:
892:
889:
886:
882:
881:
878:
875:
872:
861:Little Richard
836:
833:
813:
812:
809:
808:
805:
802:
799:
795:
794:
791:
788:
785:
722:relative minor
699:
698:
693:
691:I – IV – I – V
688:
686:I – I – IV – V
683:
681:I – IV – V – V
663:
660:
603:perfect fifths
591:
588:
586:
583:
567:chord notation
546:
543:
421:dominant chord
419:(IV), and the
392:
389:
381:extended chord
361:diatonic scale
336:
333:
218:rhythm section
206:Roman numerals
135:Roman numerals
102:styles (e.g.,
56:
45:
42:
39:
38:
37:
28:
9:
6:
4:
3:
2:
2644:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2615:
2614:
2612:
2598:
2588:
2587:Voice leading
2585:
2583:
2580:
2578:
2575:
2573:
2570:
2568:
2565:
2563:
2560:
2558:
2555:
2553:
2552:Harmonization
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2512:Accompaniment
2510:
2509:
2506:
2502:
2495:
2490:
2488:
2483:
2481:
2476:
2475:
2472:
2462:
2457:
2451:
2448:
2445:
2441:
2438:
2436:
2433:
2431:
2428:
2427:
2425:
2421:
2415:
2412:
2410:
2407:
2405:
2402:
2400:
2397:
2395:
2392:
2390:
2387:
2385:
2382:
2380:
2377:
2375:
2372:
2370:
2367:
2365:
2362:
2360:
2357:
2355:
2352:
2350:
2347:
2345:
2342:
2340:
2337:
2336:
2334:
2330:
2320:
2317:
2315:
2312:
2310:
2307:
2304:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2266:
2264:
2260:
2254:
2251:
2249:
2246:
2243:
2239:
2236:
2234:
2231:
2229:
2226:
2224:
2223:VII–V cadence
2216:
2214:
2211:
2209:
2206:
2204:
2201:
2200:
2198:
2196:
2192:
2189:
2183:
2177:
2174:
2172:
2171:Rewrite rules
2169:
2167:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2139:
2136:
2135:
2133:
2129:
2125:
2118:
2113:
2111:
2106:
2104:
2099:
2098:
2095:
2088:
2084:
2081:
2080:3-89221-056-X
2077:
2073:
2069:
2066:
2065:0-335-15275-9
2062:
2058:
2055:
2054:9781925029765
2051:
2047:
2043:
2042:
2021:
2020:
2012:
1996:
1989:
1981:
1975:
1971:
1964:
1962:
1954:
1953:0-7935-7038-7
1950:
1946:
1940:
1924:
1918:
1908:
1904:
1898:
1882:
1878:
1874:
1868:
1861:
1858:
1852:
1837:
1833:
1827:
1811:
1807:
1801:
1793:
1787:
1772:
1768:
1761:
1742:
1735:
1729:
1721:
1717:
1713:
1709:
1705:
1701:
1697:
1690:
1683:
1677:
1668:
1661:
1657:
1652:
1650:
1642:
1638:
1633:
1629:
1619:
1616:
1614:
1611:
1609:
1606:
1604:
1601:
1599:
1598:Passing chord
1596:
1594:
1591:
1589:
1586:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1564:
1561:
1559:
1556:
1555:
1549:
1547:
1543:
1539:
1535:
1531:
1527:
1521:
1517:
1514:
1512:
1508:
1503:
1482:
1477:
1475:
1471:
1467:
1458:
1455:and G is the
1454:
1450:
1447:
1436:
1417:
1414:
1406:
1395:
1392:
1388:
1385:
1381:
1378:
1374:
1371:
1367:
1364: –
1363:
1359:
1358:Find sources:
1352:
1348:
1342:
1341:
1336:This article
1334:
1330:
1325:
1324:
1316:
1296:
1292:
1288:
1283:
1281:
1276:
1274:
1270:
1266:
1254:
1251:
1243:
1232:
1229:
1225:
1222:
1218:
1215:
1211:
1208:
1204:
1201: –
1200:
1196:
1195:Find sources:
1189:
1185:
1179:
1178:
1173:This article
1171:
1167:
1162:
1161:
1153:
1151:
1147:
1143:
1139:
1135:
1131:
1127:
1123:
1116:
1112:
1109:
1105:
1101:
1092:
1088:
1084:
1073:
1056:
1045:
1027:
1025:
1020:
1018:
1014:
1011:" (1934) and
1010:
1006:
1001:
999:
995:
979:
958:
955:
951:
948:
945:
941:
940:
939:
937:
933:
930:
927:generate all
926:
925:rewrite rules
921:
919:
907:
904:
901:
898:
897:
893:
890:
887:
884:
883:
869:
866:
865:
864:
862:
858:
854:
850:
841:
835:Blues changes
832:
830:
826:
822:
818:
806:
803:
800:
797:
796:
782:
779:
778:
777:
775:
771:
767:
764:
760:
755:
753:
751:
746:
741:
739:
735:
731:
727:
723:
719:
718:scale degrees
715:
711:
706:
704:
694:
689:
684:
679:
678:
677:
675:
669:
659:
657:
653:
649:
645:
644:added seventh
639:
637:
633:
629:
625:
621:
616:
612:
608:
604:
600:
596:
582:
580:
579:improvisation
576:
572:
568:
564:
559:
557:
553:
542:
540:
536:
532:
528:
524:
520:
514:
503:
499:
494:
492:
488:
483:
481:
477:
473:
469:
465:
461:
460:mediant chord
457:
453:
448:
446:
442:
438:
437:rock and roll
434:
430:
426:
422:
418:
414:
410:
406:
405:scale degrees
402:
398:
388:
386:
382:
378:
377:seventh chord
374:
370:
366:
362:
358:
357:musical scale
350:
349:scale degrees
346:
341:
332:
330:
326:
322:
321:hardcore punk
318:
314:
310:
306:
302:
297:
223:
219:
215:
211:
207:
202:
194:
184:
175:major, the "E
168:
140:
136:
132:
128:
123:
121:
117:
113:
109:
105:
101:
100:popular music
97:
93:
89:
85:
81:
77:
76:chord changes
73:
69:
65:
49:
35:
27:
19:
18:Chord changes
2582:Simultaneity
2536:
2517:Alberti bass
2409:Tadd-Dameron
2158:Double tonic
2123:
2086:
2071:
2045:
2024:. Retrieved
2018:
2011:
2001:18 September
1999:. Retrieved
1988:
1969:
1944:
1939:
1927:. Retrieved
1917:
1906:
1897:
1885:. Retrieved
1881:the original
1876:
1867:
1859:
1856:
1851:
1839:. Retrieved
1835:
1826:
1814:. Retrieved
1809:
1800:
1774:. Retrieved
1770:
1760:
1748:. Retrieved
1741:the original
1728:
1699:
1695:
1689:
1681:
1676:
1667:
1659:
1640:
1632:
1568:Ear training
1542:power chords
1538:barre chords
1530:modal scales
1523:
1519:
1515:
1504:
1502:VII–IV-I-I.
1478:
1463:
1457:leading tone
1448:
1409:
1400:
1390:
1383:
1376:
1369:
1357:
1345:Please help
1340:verification
1337:
1295:phrygo-major
1284:
1277:
1261:
1246:
1237:
1227:
1220:
1213:
1206:
1194:
1182:Please help
1177:verification
1174:
1150:I Got Rhythm
1122:chromaticism
1118:
1114:
1097:
1021:
1002:
991:
922:
915:
849:12-bar blues
846:
829:musical form
821:ternary form
814:
756:
749:
742:
734:jazz harmony
707:
700:
671:
640:
593:
571:figured bass
560:
552:12-bar blues
548:
545:Progressions
539:musical form
495:
487:leading tone
484:
452:minor chords
449:
401:major triads
394:
354:
335:Basic theory
298:
210:12-bar blues
203:
124:
78:, used as a
75:
74:(informally
71:
67:
61:
26:
2440:Ground bass
2309:IV–V–iii–vi
2131:Terminology
1706:: 285–310.
1526:blues scale
1470:minor blues
1466:minor modes
929:well-formed
857:Chuck Berry
825:32-bar form
774:tonic chord
730:cadentially
575:chord chart
561:In western
482:is added).
462:(iii), and
409:tonic chord
397:major scale
214:backup band
193:major chord
2611:Categories
2522:Banjo roll
2176:Turnaround
1841:1 February
1624:References
1546:rock music
1496:VII–IV or
1481:Mixolydian
1449:por arriba
1444:A typical
1373:newspapers
1269:"divisions
1210:newspapers
1126:modulation
1057:in C major
1019:" (1938).
918:Bird blues
768:, may be "
763:unresolved
716:(or other
666:See also:
535:resolution
502:alteration
489:) forms a
445:Wild Thing
441:The Troggs
433:folk music
222:bandleader
167:lead sheet
108:rock music
32:See also:
2542:Four-part
2314:Romanesca
2299:I–V–vi–IV
2284:vi–ii–V–I
2187:of chords
2185:By number
2163:Notation
1947:, p. 56.
1403:June 2019
1240:June 2019
1009:Blue Moon
994:I–vi–ii–V
745:Beethoven
620:hard rock
563:classical
498:chromatic
425:harmonize
309:jazz-funk
183:root note
104:pop music
2577:Sequence
2435:Chaconne
2349:Backdoor
2220:♭
2203:I–IV–V–I
1786:cite web
1776:1 August
1552:See also
1499:♭
1493:♭
1487:♭
1453:subtonic
1312:♭
1306:♭
1300:♯
1265:bassline
1136:and the
855:such as
770:answered
766:dominant
752:Symphony
750:Pastoral
726:ii chord
714:sevenths
595:Diatonic
531:modulate
523:semitone
507:♯
385:function
293:♭
287:♭
281:♭
275:♭
269:♭
263:♭
257:♭
251:♭
245:♭
239:♭
233:♭
227:♭
201:" note.
198:♭
188:♭
178:♭
172:♭
162:♭
156:♭
153:major–B
150:♭
144:♭
127:tonality
2617:Harmony
2527:Cadence
2501:Harmony
2423:Related
2389:Ragtime
2374:Omnibus
2332:By name
2240: (
2148:Changes
2143:Cadence
2026:22 July
1929:17 July
1816:17 July
1536:. With
1387:scholar
1303:E D C B
1224:scholar
638:, etc.
624:hip hop
573:to the
493:(vii).
480:seventh
478:if the
315:. Some
139:quality
88:harmony
2364:Circle
2138:Bridge
2078:
2063:
2052:
1976:
1951:
1887:22 May
1718:
1389:
1382:
1375:
1368:
1360:
1226:
1219:
1212:
1205:
1197:
1087:bridge
817:binary
759:phrase
615:Indian
458:(ii),
454:, the
305:groove
84:chords
80:plural
2572:Pitch
2532:Chord
2404:Stomp
2279:Folía
2195:Three
1750:6 May
1744:(PDF)
1737:(PDF)
1716:JSTOR
1702:(3).
1394:JSTOR
1380:books
1287:Ravel
1231:JSTOR
1217:books
1144:" of
1108:roots
827:(see
656:Shout
632:disco
556:genre
519:third
472:third
345:tonic
325:bebop
278:, F-E
116:blues
62:In a
2567:Note
2303:list
2262:Four
2076:ISBN
2061:ISBN
2050:ISBN
2028:2008
2003:2020
1974:ISBN
1949:ISBN
1931:2016
1889:2019
1843:2019
1818:2016
1792:link
1778:2019
1752:2011
1366:news
1315:G).
1203:news
1148:'s "
1130:jazz
1081:The
1015:'s "
1007:'s "
859:and
847:The
636:jazz
628:funk
613:and
611:Arab
435:and
411:(in
373:type
369:root
319:and
317:punk
313:vamp
301:Funk
120:jazz
118:and
66:, a
2339:50s
1905:",
1708:doi
1528:to
1349:by
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