Most commonly found in its four-chord version (including the chord in parentheses). Play (help·info) This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi–ii–V7–I (in C: Am–Dm–G7–C).Play (help·info) The three-chord version (II–V–I) is "related to the cadential progression IV–V–I...in which the V is tonicized and stabilized by means of II with a raised third."
Progression (E7–A7–D7–G7) Play (help·info) which often appears in the bridge of jazz standards. The V7/V/V/V – V7/V/V – V7/V – V7 (or V7/vi – V7/ii – V7/V – V7) leads back to C major (I) Play (help·info) but is itself indefinite in key.
Ragtime progression's origin in voice leading: II itself is the product of a 5–6 replacement over IV in IV–V–I. "Such a replacement originates purely in voice-leading, but" the 6 3 chord above IV (in C, FAD) is a first-inversion II chord.Play (help·info)
Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.
^Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7.
^ abJonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.
^Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989).
^Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. ISBN 978-0-8256-0152-1.
^Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. ISBN 9780634011603. and Weissman, Dick (1085). Basic Chord Progressions: Handy Guide, p.28. ISBN 9780882844008.
^Fox, Charles; McCarthy, Albert (1960). Jazz on record: a critical guide to the first 50 years, 1917-1967. Hanover Books. p. 62.
Averill, Gage (2003). Four Parts, No Waiting, p. 32. ISBN 978-0-19-511672-4.
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