460:
744:
131:
192:
468:
142:
467:
200:
143:
201:
683:
667:
174:
denigrates the
Gregory Walker, comparing unskilled singing to its sound, it was popular in both pop/popular/folk and classical musics through 1700. Its popularity was revived in the mid 19th century, and the
651:
466:
684:
668:
681:
665:
652:
649:
1126:
816:
140:
543:"Gathering Flowers From the Hillside": The Bluegrass variation frequently occurs in conjunction with the I–I "lead-in" and/or the direct IV-to-V transition listed above.
198:
469:
162:, originated in Italian and French dance music during the first half of the 16th century, where it was often used with a contrasting progression or section known as
141:
199:
938:
1132:
682:
666:
650:
798:
644:
rules. The following files may or may not be more suitable for use in strict counterpoint, though they lack the ground bass.
971:
879:
1122:
891:
860:
852:
931:
840:
320:, 1553). (Readers of Spanish may benefit from the Spanish-language Knowledge's more extensive treatment of
1303:
924:
255:
1284:
1031:
1036:
219:
829:
504:
1232:
1142:
1041:
490:
239:
1237:
1217:
1112:
986:
275:
1107:
561:
1273:
1267:
1253:
1172:
1051:
1026:
870:
459:
353:
326:
8:
1212:
1197:
1162:
1092:
994:
1187:
1167:
1097:
999:
976:
497:
261:
232:
632:
Caution: Keeping all chords in root position without using a stepwise melody produces
1227:
1202:
1117:
1071:
947:
887:
856:
848:
374:
159:
41:
37:
318:
Tratado de Glosas sobre cláusulas y Otros
Generos de Puntos en la Música de Violones
1192:
1061:
1018:
637:
265:
180:
536:
Second strain's first I becomes I–I (for a stronger "lead-in" to the upcoming IV):
130:
1056:
966:
633:
602:
349:
884:
Origins of the
Popular Style: The Antecedents of Twentieth-Century Popular Music
1222:
961:
573:
338:
321:
290:
45:
1297:
641:
518:
511:
370:
303:
251:
245:
167:
191:
1177:
1065:
981:
906:
610:
606:
569:
135:
1263:
309:
295:
271:
151:
1182:
565:
155:
1137:
916:
577:
1258:
780:
1102:
377:
in which the subdominant (IV) chords become the progression IV–I.
805:
283:
90:
756:
732:
341:'s "A History of Lovers" (verses; chorus and interludes follow
314:
Recercada Prima / Segunda / Tercera sobre el
Passamezzo Moderno
806:
Helms, Anna, Otto
Ilmbrecht, and Heinrich Dieckelmann (1954).
823:
website (archive from 1 March 2012, accessed 21 April 2020)
640:), which are prohibited by classical (rather than popular)
710:
708:
847:. Milton Keynes and Philadelphia: Open University Press.
910:
814:
786:
768:
705:
422:
For example, in C major this variation is as follows:
871:
720:
172:
815:Holt, David, Doc Watson, and Merle Watson. 2009. "
656:Progression with tonic (I) chord in root position
1295:
821:Piney Grove Ramblers: Bluegrass for the People
932:
878:
796:
774:
762:
738:
482:
209:
176:
827:
750:
939:
925:
530:
360:
839:
714:
613:1947) (verse and second strain of chorus)
810:, Frankfurt am Main: Hoffmeister Verlag.
801:". Columbia 37636. Recorded May 7, 1935.
679:
663:
647:
594:IV–I is reversed, becoming I–IV or I–IV:
463:American Gregory Walker root progression
458:
190:
129:
284:Helms, Ilmbrecht, and Dieckelmann (1954
1296:
946:
867:
726:
588:
545:The resulting progression is |||
248:'s "There is a House in This Old Town"
920:
44:period, divid into two complementary
316:(three-part didactic composition in
799:Gathering Flowers From The Hillside
525:
302:"Oxstedter Mühle" (folk dance from
13:
911:Leader in Lieder mit Midi Melodies
899:
551: I(–I) | IV | (I–)V | I
14:
1315:
464:
196:
138:
835:website (accessed 22 May 2010).
93:the progression is as follows:
913:website (accessed 22 May 2010)
626:
195:"Darling Nelly Gray", page one
1:
787:Holt, Watson, and Watson 2009
699:
476:
36:was "one of the most popular
553:||| ; examples include:
426:
97:
7:
886:. Oxford: Clarendon Press.
225:"Up and Ware Them A Willie"
186:
10:
1320:
1285:List of chord progressions
907:Coming 'round the Mountain
572:; not to be confused with
20:("modern half step"; also
1282:
1246:
1155:
1085:
1017:
1008:
954:
688:Tonic in second inversion
547: I | I | I | V
220:Fitzwilliam Virginal Book
179:(below) evolved into the
672:Tonic in first inversion
619:
505:My Little Old Sod Shanty
450:
447:
444:
441:
438:
435:
432:
429:
256:Alexander's Ragtime Band
121:
118:
115:
112:
109:
106:
103:
100:
1143:Tadd Dameron turnaround
531:On original progression
367:American Gregory Walker
361:American Gregory Walker
1238:Montgomery-Ward bridge
1218:Royal road progression
1113:Montgomery-Ward bridge
874:. London: Peter Short.
868:Morley, Thomas. 1597.
863:(pbk). Reprinted 2002.
845:Studying Popular Music
797:Carter Family. 1935. "
689:
673:
657:
473:
345:IV–I–IV–V progression)
205:
147:
1183:Borrowed (contrafact)
687:
671:
655:
462:
194:
133:
1274:Irregular resolution
1052:Backdoor progression
880:van der Merwe, Peter
560:"Free Little Bird" (
830:A History of Lovers
589:On American variant
483:van der Merwe (1989
276:You've Got a Friend
240:Wreck of the Old 97
210:van der Merwe (1989
150:The progression or
1304:Chord progressions
1208:Passamezzo moderno
1168:Andalusian cadence
1098:Andalusian cadence
1077:Passamezzo moderno
977:Constant structure
948:Chord progressions
841:Middleton, Richard
775:Carter Family 1935
763:van der Merwe 1989
739:van der Merwe 1989
690:
674:
658:
474:
262:The Rolling Stones
233:Darling Nelly Gray
206:
148:
18:passamezzo moderno
1291:
1290:
1268:Pachelbel's Canon
1203:Passamezzo antico
1151:
1150:
1118:Passamezzo antico
1072:Sixteen-bar blues
1037:V–IV–I turnaround
1032:ii–V–I turnaround
909:". Song text, at
685:
669:
653:
470:
455:
454:
418:
417:
327:Tratado de Glosas
299:(Nuremberg, 1536)
202:
170:'s characters in
160:passamezzo antico
158:variation of the
144:
126:
125:
87:
86:
38:harmonic formulae
1311:
1223:"Rhythm" changes
1193:Coltrane changes
1093:'50s progression
1062:Twelve-bar blues
1046:
1045:
1015:
1014:
990:
941:
934:
927:
918:
917:
895:
875:
864:
836:
824:
817:Free Little Bird
811:
802:
790:
784:
778:
772:
766:
760:
754:
751:Iron e Wine 2005
748:
742:
736:
730:
724:
718:
712:
693:
686:
670:
654:
638:parallel harmony
630:
552:
548:
526:Other variations
472:
471:
427:
382:
381:
266:Honky Tonk Women
204:
203:
181:twelve bar blues
177:American variant
166:. Though one of
146:
145:
136:root progression
98:
89:For example, in
51:
50:
1319:
1318:
1314:
1313:
1312:
1310:
1309:
1308:
1294:
1293:
1292:
1287:
1278:
1254:Aeolian harmony
1242:
1147:
1081:
1057:Eight-bar blues
1043:
1042:
1010:
1004:
989:(Roman-numeral)
988:
950:
945:
902:
900:Further reading
793:
785:
781:
773:
769:
761:
757:
749:
745:
737:
733:
725:
721:
713:
706:
702:
697:
696:
692:
691:
680:
676:
675:
664:
660:
659:
648:
634:parallel fifths
631:
627:
622:
603:Tennessee Waltz
591:
550:
546:
544:
533:
528:
479:
465:
363:
350:George Cromarty
339:Iron & Wine
197:
189:
139:
134:Gregory Walker
12:
11:
5:
1317:
1307:
1306:
1289:
1288:
1283:
1280:
1279:
1277:
1276:
1271:
1261:
1256:
1250:
1248:
1244:
1243:
1241:
1240:
1235:
1230:
1225:
1220:
1215:
1210:
1205:
1200:
1195:
1190:
1185:
1180:
1178:"Bird" changes
1175:
1170:
1165:
1159:
1157:
1153:
1152:
1149:
1148:
1146:
1145:
1140:
1135:
1130:
1120:
1115:
1110:
1105:
1100:
1095:
1089:
1087:
1083:
1082:
1080:
1079:
1074:
1069:
1066:"Bird" changes
1059:
1054:
1049:
1039:
1034:
1029:
1023:
1021:
1012:
1006:
1005:
1003:
1002:
997:
992:
984:
979:
974:
969:
964:
958:
956:
952:
951:
944:
943:
936:
929:
921:
915:
914:
901:
898:
897:
896:
876:
865:
837:
828:Iron e Wine .
825:
812:
803:
792:
791:
779:
767:
755:
743:
731:
719:
715:Middleton 1990
703:
701:
698:
695:
694:
678:
677:
662:
661:
646:
645:
624:
623:
621:
618:
617:
616:
615:
614:
596:
595:
590:
587:
586:
585:
584:
583:
582:
581:
574:Lynyrd Skynyrd
555:
554:
538:
537:
532:
529:
527:
524:
523:
522:
517:Gus Cannon's "
515:
508:
501:
494:
478:
475:
457:
456:
453:
452:
449:
446:
443:
440:
437:
434:
431:
420:
419:
416:
415:
412:
409:
406:
403:
399:
398:
395:
392:
389:
386:
362:
359:
358:
357:
346:
332:
331:
307:
300:
291:Hans Neusidler
280:
279:
269:
259:
249:
243:
236:
229:
226:
223:
188:
185:
128:
127:
124:
123:
120:
117:
114:
111:
108:
105:
102:
85:
84:
81:
78:
75:
72:
68:
67:
64:
61:
58:
55:
34:Gregory Walker
9:
6:
4:
3:
2:
1316:
1305:
1302:
1301:
1299:
1286:
1281:
1275:
1272:
1269:
1265:
1262:
1260:
1257:
1255:
1252:
1251:
1249:
1245:
1239:
1236:
1234:
1231:
1229:
1226:
1224:
1221:
1219:
1216:
1214:
1211:
1209:
1206:
1204:
1201:
1199:
1196:
1194:
1191:
1189:
1186:
1184:
1181:
1179:
1176:
1174:
1171:
1169:
1166:
1164:
1161:
1160:
1158:
1154:
1144:
1141:
1139:
1136:
1134:
1131:
1128:
1124:
1121:
1119:
1116:
1114:
1111:
1109:
1106:
1104:
1101:
1099:
1096:
1094:
1091:
1090:
1088:
1084:
1078:
1075:
1073:
1070:
1067:
1063:
1060:
1058:
1055:
1053:
1050:
1048:
1047:VII–V cadence
1040:
1038:
1035:
1033:
1030:
1028:
1025:
1024:
1022:
1020:
1016:
1013:
1007:
1001:
998:
996:
995:Rewrite rules
993:
991:
985:
983:
980:
978:
975:
973:
970:
968:
965:
963:
960:
959:
957:
953:
949:
942:
937:
935:
930:
928:
923:
922:
919:
912:
908:
904:
903:
893:
892:0-19-316121-4
889:
885:
881:
877:
873:
872:
866:
862:
861:0-335-15275-9
858:
854:
853:0-335-15276-7
850:
846:
842:
838:
834:
831:
826:
822:
818:
813:
809:
808:Die Tanzkette
804:
800:
795:
794:
788:
783:
776:
771:
764:
759:
752:
747:
740:
735:
728:
723:
716:
711:
709:
704:
643:
642:voice-leading
639:
635:
629:
625:
612:
608:
604:
600:
599:
598:
597:
593:
592:
579:
575:
571:
567:
563:
559:
558:
557:
556:
542:
541:
540:
539:
535:
534:
520:
519:Walk Right In
516:
513:
509:
506:
502:
499:
495:
492:
488:
487:
486:
484:
461:
428:
425:
424:
423:
413:
410:
407:
404:
401:
400:
396:
393:
390:
387:
384:
383:
380:
379:
378:
376:
372:
371:parlour music
369:, popular in
368:
355:
354:Plastic Jesus
351:
347:
344:
340:
337:
336:
335:
329:
328:
323:
319:
315:
311:
308:
306:) (B section)
305:
301:
298:
297:
292:
289:
288:
287:
285:
277:
273:
270:
267:
263:
260:
257:
253:
252:Irving Berlin
250:
247:
246:Woody Guthrie
244:
241:
237:
234:
230:
228:"Jimmie Rose"
227:
224:
222:
221:
215:
214:
213:
211:
193:
184:
182:
178:
173:
169:
168:Thomas Morley
165:
161:
157:
153:
137:
132:
99:
96:
95:
94:
92:
82:
79:
76:
73:
70:
69:
65:
62:
59:
56:
53:
52:
49:
47:
43:
39:
35:
31:
27:
23:
19:
1233:Tadd-Dameron
1207:
1076:
982:Double tonic
905:Anon. n.d. "
883:
869:
844:
832:
820:
807:
782:
770:
758:
746:
734:
722:
628:
570:Merle Watson
512:Cottonfields
485:, 201–202):
480:
421:
366:
364:
348:Ed Rush and
342:
333:
325:
317:
313:
304:Lower Saxony
294:
281:
217:
212:, 198–201):
207:
171:
163:
149:
88:
33:
30:quadro pavan
29:
25:
21:
17:
15:
1264:Ground bass
1133:IV–V–iii–vi
955:Terminology
727:Morley 1597
498:The Titanic
491:Jesse James
324:and of the
322:Diego Ortiz
310:Diego Ortiz
296:Gassenhauer
272:Carole King
216:several in
152:ground bass
42:Renaissance
1000:Turnaround
765:, 201–202.
741:, 198–201.
700:References
562:David Holt
481:Listed in
282:Listed in
208:Listed in
156:major mode
1138:Romanesca
1123:I–V–vi–IV
1108:vi–ii–V–I
1011:of chords
1009:By number
987:Notation
855:(cloth);
578:Free Bird
375:variation
1298:Category
1259:Chaconne
1173:Backdoor
1044:♭
1027:I–IV–V–I
882:. 1989.
843:. 1990.
833:CifrasFX
521:" (1929)
477:Examples
334:Others:
278:" (1971)
268:" (1969)
187:Examples
26:quadrant
1247:Related
1213:Ragtime
1198:Omnibus
1156:By name
1064: (
972:Changes
967:Cadence
607:Stewart
373:, is a
343:ripresi
164:ripresa
91:C major
48:thus:"
46:strains
40:in the
22:quadran
1188:Circle
962:Bridge
890:
859:
851:
729:, 120.
717:, 117.
154:, the
32:), or
1228:Stomp
1103:Folía
1019:Three
636:(see
620:Notes
286:, ):
28:, or
1127:list
1086:Four
888:ISBN
857:ISBN
849:ISBN
611:King
609:and
576:'s "
568:and
564:and
408:IV–I
391:IV–I
365:The
352:’s "
274:'s "
254:'s "
218:The
16:The
1163:50s
819:".
753:, .
605:" (
580:").
566:Doc
448:C–G
445:F–C
433:F–C
411:I–V
293:'s
264:' "
119:C–G
80:I–V
1300::
707:^
549:||
451:C
414:I
402:2)
397:V
385:1)
330:.)
312:'
183:.
122:C
83:I
77:IV
71:2)
66:V
60:IV
54:1)
24:,
1270:)
1266:(
1129:)
1125:(
1068:)
940:e
933:t
926:v
894:.
789:.
777:.
601:"
514:"
510:"
507:"
503:"
500:"
496:"
493:"
489:"
442:C
439:G
436:C
430:C
405:I
394:I
388:I
356:"
258:"
242:"
238:"
235:"
231:"
116:F
113:C
110:G
107:C
104:F
101:C
74:I
63:I
57:I
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
