chord chord or harmonic development is a series of musical chords, consisting of two or more notes, usually heard together. Chord progressions are the foundation of harmony in Western music tradition from the general practice of Classical music to the 21st century. Chord progression is the basis of Western popular music styles (eg, pop music, rock music) and traditional music (eg, blues and jazz). In this genre, chord progressions are the defining feature in which melodies and rhythms are built.
In tonal music, chord progression has the function of constructing or contradicting the tone of voice, the technical name for what is generally understood as the "key" of a song or piece. Chord progressions are usually expressed by Roman numerals in Classical music theory; for example, my general chord progression vi/ii V7. In many popular and traditional musical styles, chord progressions are expressed using the name and "quality" of chords. For example, the previously mentioned chord progression, in key C Major, will be written as C Major A minor/D minor G7 in a fake book or worksheet. In the first chord, C Major, "C" indicates that the chord is built on the root of the word "C"; the word "Major" indicates that the major chord is built on this "C" note.
In rock and blues, musicians also often refer to the progression of chords using Roman numerals, as this facilitates the transfer of songs to new keys. For example, rock and blues musicians often think of 12 blues bars consisting of I, IV and V chords. So the simplest version of the 12-bar blue can be expressed as I/I/I/I IV/IV/I/IV/IV/I/I. By considering this blues development in Roman numerals, a backup band or rhythm section can be instructed by a band leader to do a chord in any key. For example, if the bandleader asks the band to play this chord progression in the C Major key, the chord will be C/C/C/CF/F/C/CG/F/C/C. If the bandleader wants to play a song in the G Major key, the chord is G/G/G/GC/C/G/GD/C/G/G, and so on.
The complexity of the chorus varies from genre to genre and to different historical periods. Some pop and rock songs from the 1980s to 2010 have fairly simple chord progression. Funk emphasizes the flow and rhythm as a key element, so the whole funk song can be based on a single chord. Some jazz-funk songs are based on two, three or four vampires. Some punk and hardcore punk songs use only a few chords. On the other hand, bebop jazz songs may have a form of 32 bar songs with one or two chord changes each bar.
Video Chord progression
Basics
A chord can be built on every note of the musical scale, therefore the seven-tone scale allows the seven basic chords (for the key of that scale), each level of scale to be its own root of the chord. A chord built on the note E is the E chord of some type (major/minor/decreased, etc.) The harmonic function of a particular chord depending on the particular chord context found. ( View Diatonic function)
The diatonic (scale, excluding notes in addition to the seven notes of a given scale) harmonizes from any large-scale results in the three main triads. They are based on the first, fourth, and fifth-scale degrees (tonics, called chord I in Roman numeral analysis, subdominant, chord II or IV in Roman numerical analysis, and dominant, V or V7 chord - see chord three songs ). These three triads include, and therefore can align, any notes of that scale. A lot of simple traditional music, folk music, and rock and roll songs only use these three chord types (eg Wild Thing, which uses chords I, IV, and V).
The same scale also provides three minor minor chords, corresponding to each of the three major chords. It is based on the sixth, second and third levels of the large scale and stands in the same relation to each other (in the relative minor key) as well as three majors, so they can be viewed as the first (i), the fourth (iv) and the fifth ( v) relatively minor key rate. For example, if we are in key C Major, the relative minor key is the key of A minor. In the minor A key, chords i, iv and v will be minor, D minor and E minor. In practice, the three dominant chords are often sharpened (raised) by one semitone to give a major accel; Also, this V may have the dominant seventh added, making it a V7 chord. Chords in this change are A minor, d minor and E major (or E7).
Separate from these six common chords there is one level scale, seventh, which produces reduced chords. Thus in the Key C key, the seventh note of the scale, B, would be the root note of the reduced triad (notes B, D and F).
In addition, additional color notes can be added to any chord. Chromatic notes are notes that are not in the key. Back to our song samples in C Major, this is the key with no sharp or flat objects. Key C Major is a "white note" on the piano. Each chord in the C Major key can have one or more records in its sharpened or leveled triad, which will require use, in C Major, of "black keys". Perhaps the most basic color change in simple folk songs is the use of a sharpened fourth-rate scale. In a song in C Major, the fourth level diatonic scale is F. Sharpen this fourth level with a semitone giving F #. So with F #, the 2nd chord (usually D, F and A) tones D, F #, A (Major D chords; technical term for this chord is dominant secondary) this note is also selected from the original diatonist scales of harmony. If new chromatic intervals are introduced then scale or modulation changes take place, which can bring a feeling of tonal center change (usually called moving to a new key). This in turn can lead to resolutions back to the original key, so the whole set of chords helps create an expanded musical form and a sense of movement and interest for the listener.
While all of this allows for a large number of possible developments (depending on length of development), in practice, the progression is often limited to some bar length 'and certain developments favored over the others: there are a number of fashion in this and chords (eg, 12 blues bar progression) can even define the entire genre.
In classical western notation, chords built on scale are numbered Roman numerals. The D chord will be drawn I in the D key, for example, but V in the G . Minor chords are marked with lowercase letters, so D minor in the C key will be written ii . Other chord notation forms have been created, from figured bass to chord charts. This usually allows or even requires some improvisation.
Maps Chord progression
Simple progression
Diatonic scales such as large and small scales are especially suitable for common chord construction because they contain large numbers of perfect fifths. Such a scale dominates in areas where harmony is an important part of music, such as, for example, in the period of common practice of western classical music. In considering Arabic and Indian music, where diatonic scales are used, there are also a number of non-diatonic scales, music has no chord changes, fixed on keys, attributes that have also been observed on hard rock. , hip hop, funk, disco, jazz, etc.
Switching between two chords can be considered the most basic chord progression. Many famous pieces are built in harmony only by repeating two chords of the same scale. For example, many of the simpler melodies in classical music consisted entirely or largely from the alternation between the tonic ( I ) and the dominant ( V , sometimes with the seventh being added) , As well as folk songs like "Polly Wolly Doodle" and popular songs like "Achy Breaky Heart". "Shout" Isley Brothers uses I - vi throughout.
Three chord progression
Three chord tones, though, are more common, since melodies may then stay on any scale record. They are often presented as a succession of four chords, to produce a harmonic harmonic rhythm, but two of the four chords are the same. Often chords can be chosen to match the melody that has been pre-conceived, but often it is the progression itself that gives rise to the melody.
- I - IV - V - V .
- I - I - IV - V .
- I - IV - I - V . (Common in Elizabethan music (Scholes 1977), it also supports the American college song "Goodnight Ladies", is an exclusive development used in Kwela.)
- I - IV - V - IV .
Similar progression abounds in popular African music. They may vary by the addition of the seventh (or other scale scale) to each chord or by the relative minor substitution of the IV chord to give, for example, I - ii - V . This sequence, using a chord based on a second-degree degree, is also used splendidly in the general chord of jazz harmony, called rotation ii-V-I, which is based on more ornate Coltrane changes.
Such developments provide the full harmonic foundation of many African and American popular music, and they occur implicitly in many classical music (such as the opening bar of Beethoven Pastoral Symphony). Each of these progressions can be converted into any key, for example, the development of I - IV - V in the A key will be played A - D - E , while in the C key the chord will be C - F - G .
Where such simple sequences do not represent the entire harmonic structure of a section, it may be ready to be extended for greater variation. Frequently the opening phrase of the type I - IV - V - V , which ends in unresolved dominance, can be "answered" by the same version that completes back to the home chord, giving the structure doubling its length:
- I - IV - V - V
- I - IV - V - I
In addition, such parts can be alternated with different developments to provide simple binary or ternary forms such as the popular thirty-two-bar form (see the music form).
Blues changed
Twelve blues bars and many variants use the three-line form extending from the progression of the I-IV-V progression that has also generated countless hit records, including the most significant output of rock and rollers such as Chuck Berry and Little Richard. In its most basic form (there are many variants) it develops as follows: I - I - I - I - I IV - IV - I - I
Again, blues developments have formed the entire harmonic basis of many recorded songs but may also be limited to one part of a more complicated form, as is often the Beatles in songs such as "You Can not Do That", "I Feeling Good ", and" She's A Woman ". They have also experienced solid chromatic elaboration, as in blues.
Steedman (1984) proposed that a set of recursive rewriting rules produce all well-formed jazz transformations, both basic blues chord changes and slight modified sequences (such as "rhythm changes"). Important transformations include:
- replacement (or addition) chord with dominant substitution, subdominan or tritone.
- chromatic chord usage.
- extensively apply the turnaround ii-V-I.
- chord changes like minor chords, seventh that decreases, etc.
1950's development
Another common way to extend the I - IV - V sequence is to add a chord of the sixth scale level, providing the order I - vi - IV - V or - ii - V , sometimes called the development of the 50s or doo-wop development.
Actually this sequence has been used since the early days of classical music (often used by Wolfgang Amadeus Mozart), but after producing popular hits such as Rodgers and Hart "Blue Moon" (1934), Jerome Kern and Dorothy Fields' 1936 "The Way You Look Tonight" , and Hoagy Carmichael's "Heart and Soul" (1938), became associated with American vocal groups in the 1940s, The Ink Spots and The Mills Brothers ("Until Now"), and then became the whole foundation of the doo-wop genre 1950s, a typical example is The Monotones "The Book of Love".
Brought into the main stream of the pop, for example with Felice and Boudleaux Bryant "All I Have to Do Is Dream", hit for The Everly Brothers, in the 1960s it continued to produce notes as opposed to The Paris Sisters' "I Love How You Love Me "(written by Mann and Kolber) and Boris Pickett" Monster Mash ".
It continues to be used gradually, as in the last part of The Beatles "Happiness Is A Warm Gun", and also to form the harmonious basis of new songs further for decades ("Every Breath You Take" by The Police and Madonna "True Blue").
Progressive loop
Introducing the ii chord into this progression emphasizes their attractiveness as a basic form of circle development. This, named for the fifth circle, consists of "adjacent roots in fourth or fifth ascending relationships" - for example, the sequence of vi - ii - V - I rises with each consecutive chord to the fourth one in above previous. Such a move, based on a close harmonious relationship, offers "no doubt the most common and most powerful of all harmonious developments". Successful rhythm gives the impression of an inevitable return on the keys of the work.
Short-cycle progress can be obtained by selecting a series of chords from the circuit that complete the circle of the tonic through the seven diatonic chords:
- I - IV - vii o - iii - vi - ii - V - I (in C major) Developmental circle in C major
- I - V - I Ã, Circle flow advice: I - V - I
- I - IV - V - I Ã, Circle growth dig: I - IV - V - I
This type of development is widely used by classical music composers, who introduced ever softer inflections. In particular, major substitutions for minor chords, for example, I - VI - II - V allow for more sophisticated chromaticism and possible modulation. This harmonious habit was adopted by American popular entertainers, giving rise to many variations on early jazz harmonics that have been dubbed as the development of ragtime and stomp progression. All such progression can be found to be used separately, as in "GH Rhythm" George Gershwin "frequent rhythm changes".
Harmonization of scale
As well as the cyclic underlying chords, the ear tends to respond well to linear threads; chords follow the scale up or down. This is often referred to as a progressive step because they follow the scale steps, making the scale itself a bass line. In the 17th century, the declining bass line favored the "division in the ground", so the Pachelbel canon, Bach orchestra (the famous Air On a G String), and the Handel organ all contain very similar harmonization of the declining large scale. When it was reintroduced into the mid-20th century pop music, it brought a lot of baroque ornaments (The Beatles' "Nothing", "A Whiter Shade of Pale" by Procol Harum, and "Dear Mary" from The Steve Miller Band and "Baby House").
At best, this descending sequence may simply introduce extra chords, either III or V , into the I - VI - IV - V type of sequence described above. This chord allows the harmonization of the seventh step, and so from the bass line I - VII - VI.... This strategy underlies Percy Sledge "When A Man Loves A Woman" and Bob Marley "No Woman, No Cry ". Baroque examples go down for an octave, while "A Whiter Shade of Pale" manages two magnificent octaves, before "spinning" through dominant chords to restart on key records.
Ascending major developments not as usual but many are available: "Like a Rolling Stone" verse goes up with step five, I-ii-iii-IV-V (or I-ii-I/IV-V) before going down again to the key-not IV - iii - ii - I (or IV-I/iii-ii-I) - the latter being another general type of large-scale harmonization decreasing. The Four Pennies' hit "Juliet" and The Beatles "" Here, There and Everywhere "both use the same progressive ride.
The decimal scale chromatic has also formed the basis of many developments, from the Crucifixus from Misa Bach in B minor, through Beethoven Thirty Two Piano Variations, for songs such as Bob Dylan's "Twist of Fate," Something "by George Harrison, and Lucio Battisti's" Paradiso ", a hit for Amen Corner when translated as "(If Paradise Is) Half as Nice".
The final size of Ravel's Piano Concerto in G shows a declining hybrid scale (phrygo-major) scale. In this particular case, Ravel uses the main triad parallel circuit for brilliant effects. :( G)
Small and capital development
A similar strategy for all of the above works well in minor modes: there are one, two and three minor-song chords, minor blues. i - VII - VI - V .
Folk songs and blues often use the Mixolydian scale, which has a flat seventh degree, changing the position of the three main chords to I - ? VII - IV . For example, if the primary scale C , which delivers three C, F and G degrees to the first, fourth and fifth degrees, is played with G as a tonic, then the same chord will now appear in the first, fourth and seventh degrees. Harmony "Mixolydian" also appeared in pop music in the 1960s, especially with the album The Beatles Help! and The Rolling Stones' Beggar's Banquet .
The third minor-step of the minor keynote to the relative major drives up-scale progressions, especially on the rise pentatonic scale. Typical types are the order of i - III - IV (or iv) - VI .
Menurut Tom Sutcliffe:
... during the 1960s some pop groups began experimenting with capital chords progressions as an alternative way to align the blues melodies... This created a new harmony system that has influenced subsequent popular music.
This arises in part from the resemblance of the blues scale to the capital scale and partly from the guitar characteristics and the use of parallel major chords on the pentatonic minor scale. With barre chords on the guitar, the same shape of the chord can be moved up and down the neck without changing the fingering. This phenomenon is also associated with the increased use of power chords in heavy metal music. Power chords contain only one fifth, or a fifth with multiple roots. Without a third, the power chord allows more flexibility in the chord.
Progression of chords in classical music
Early European musical art developed through the melodic one-line decoration and classical theory still emphasizes the correct "horizontal" progress of the singular parts of the notes, sometimes known as prominent sounds. Generally, the melody at the top added the first bass line and then two inner lines to complete the chords in a four-part harmony suitable for chorus or string parts, ending with rhythm, avoiding some chord inversions and supporting others, maintaining regular and melodic motion , opposite and oblique of each part relative to the other to achieve texture unity by avoiding unsuitable intervals, parallel and octave fifths, etc. Much practice is given to the art of harmonic transition and development that is essential for the use of classical music harmony as a means of attaining unity in a large-scale form. While (as mentioned above) classical music has a cliché development, they are rarely mentioned and discussed: perhaps only Schoenberg is among the authors of popular books on harmony that have made several attempts to do so.
See also
- Chromatic color
- Diatonic function
- Ear training
- Chord progression list
- List of songs that contain 50's progressions
- List of songs containing I-V-vi-IV progressions
- Montgomery-Ward Bridge
- Passamezzo moderno
- Skip the chord
- Root development
- Order (music)
- Twelve-bar blues
- Sub-Saharan African traditional harmony
Source
Further reading
- Lloyd, Peter (2014). Chord Secret Life: A guide to chord precision and compositions . Australian eBook Publishers. ISBN: 9781925029765.
- Middleton, Richard (1990/2002). "Learning Popular Music". Philadelphia: Open University Press. ISBNÃ, 0-335-15275-9.
- Nettles, Barrie & amp; Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony . Advance Music, ISBN 3-89221-056-X.
- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar , Amazon Digital Services, Inc., ASIN: B008FRWNIW
External links
- Creator of Online Chord Progress
- Example of Gospel Kord Music Progression
- Google spreadsheets contain hundreds of three-chord songs
- Chord Progression in Jazz
Source of the article : Wikipedia
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