caption=A 50s progression in C{edih}Another common way of extending the Iâ€“IVâ€“V progression is by adding the chord of the sixth scale degree, giving the sequence Iâ€“viâ€“IVâ€“V or Iâ€“viâ€“iiâ€“V, sometimes called the 50s progression or doo-wop progression.This progression had been in use from the earliest days of classical music and then generated popular hits such as Rodgers and Hart's "Blue Moon" (1934)WEB,weblink Jazz Standards Songs and Instrumentals (Blue Moon), www.jazzstandards.com, 22 May 2019, 27 September 2018,weblink" title="web.archive.org/web/20180927041932weblink">weblink dead, and Hoagy Carmichael's "Heart and Soul" (1938)."weblink" title="archive.today/20130111064707weblink">Heart and Soul (1938) ", MusicNotes.com. Chords marked. {{subscription required|date=July 2016}}Taken up into the pop mainstream, it continued to be used sectionally, as in the last part of The Beatles' "Happiness Is a Warm Gun".WEB,weblink Happiness Is A Warm Gun, 15 March 2008, The Beatles Bible, 17 July 2016, {{Clear}}

Circle progressions

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caption=A circle progression in C major{edih}{{Image frame|content= {relative c' {

clef treble
time 4/4
key c major
1_markup { concat { translate #'(-3.5 . 0) { "C: III" raise #1 small "7" hspace #5 "VI" raise #1 small "7" hspace #5.5 "II" raise #1 small "7" hspace #5.5 "V" raise #1 small "7" } } }
bar "||"

} }

caption=The ragtime progression (E7â€“A7â€“D7â€“G7) often appears in the bridge (music)

of jazz standards.Boyd, Bill (1997). Jazz Chord Progressions, p. 56. {{ISBN>0-7935-7038-7}}. The III7â€“VI7â€“II7â€“V7 (or V7/V/V/Vâ€“V7/V/Vâ€“V7/Vâ€“V7) leads back to C major (I) but is itself indefinite in key.}}Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of circle progression. These, named for the circle of fifths, consist of "adjacent Root (chord)

in ascending fourth or descending fifth relationship"—for instance, the sequence viâ€“iiâ€“Vâ€“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 progressions".BENWARD

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YEAR=2003

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PUBLISHER=MCGRAW-HILL

ISBN=978-0-07-294262-0, 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:Iâ€“IVâ€“viioâ€“iiiâ€“viâ€“iiâ€“Vâ€“IThis type of progression was much used by classical composers, who introduced increasingly subtle inflections. Particularly, substitution of major for minor chords giving, for example, Iâ€“VIâ€“IIâ€“V allowed a more sophisticated chromaticism as well as the possibility of modulation. These harmonic conventions were taken up by American popular entertainers, giving rise to many variations on those harmonic staples of early jazz that have been dubbed the ragtime progression and the stomp progression. All such progressions may be found used sectionally, as for example in the much-used "rhythm changes" of George Gershwin's "I Got Rhythm".

Harmonizing the scale

{{More citations needed|date=June 2019}}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 progressionsWEB, 12. Basic Two-Voice Interval Progressions,weblink 18 September 2020, Milne Library, en-US, Mount, Andre, because they follow the steps of the scale, making the scale itself a bassline. In the 17th century, descending bass lines found favour for "divisions on the ground", so that Pachelbel's canon contains very similar harmonizations of the descending major scale.At its simplest, this descending sequence may simply introduce an extra chord, either III or V, into the Iâ€“viâ€“IVâ€“V type of sequence described above. This chord allows the harmonization of the seventh degree, and so of the bass line Iâ€“VIIâ€“VI....The finale measures of the first movement of Ravel's Piano Concerto in G feature the harmonization of a descending hybrid scale (phrygo-major). In this special case, Ravel used a parallel series of major triads (G F{{music|sharp}} E D C B{{music|flat}} A{{music|flat}} G).

Minor and modal progressions

{{More citations needed|date=June 2019}}{{Image frame|content= {relative c'' {

clef treble
time 4/4
key a minor
1_markup { concat { translate #'(-3.5 . 0) { "a: i" hspace #6.5 "VII" hspace #5.5 "VI" hspace #6 "V" raise #1 small "7" hspace #6 "i" } } }
bar "||"

} }

caption=A typical Andalusian cadence por arriba (i.e. in A minor). G is the subtonic and G{{sup

#}}}} is the leading tone.}} Similar strategies to all the above, work equally well in Minor scale

: there have been one-, two-, and three-minor-chord songs, Twelve-bar blues#Minor blues>minor blues. A notable example of a descending minor chord progression is the four-chord Andalusian cadence, iâ€“VIIâ€“VIâ€“V.Folk and blues tunes frequently use the Mixolydian scale, which has a flat seventh degree, altering the position of the three major chords to Iâ€“{{sup|{{music|b}}}}VIIâ€“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, fourth, and seventh degrees. A common chord progression with these chords is I-{{music|b}}VIIâ€“IV-I, which also can be played as I-I-{{music|b}}VIIâ€“IV or {{music|b}}VIIâ€“IV-I-I.The minor-third step from a minor key up to the relative major encouraged ascending scale progressions, particularly based on an ascending pentatonic scale. Typical of the type is the sequence iâ€“IIIâ€“IV (or iv)â€“VI.According to Tom Sutcliffe:BOOK, Sutcliffe, Tom, Appendix A (Pt. 4), Pop and Rock Music Modal Blues Progressions, Syntactic Structures in Music,weblink 22 July 2008, This came about partly from the similarity of the blues scale to modal scales and partly from the characteristics of the guitar and the use of parallel major chords on the pentatonic minor scale. With barre chords 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 power chords in various sub-genres of rock music.

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chord progression

Circle progressions

Harmonizing the scale

Minor and modal progressions

See also

References

Further reading