Howard Morgen All About Chord Progressions 2

 

96

 LL

OUT CHORD PROGRESSIONS

Seco Se cond nds s

II

and Thir and Thirds ds Ba Base sed d Pa Patt tter erns ns Ch Chro rom mat atic ic Pa Patt tter erns ns and Tonic Su Subdomin ina ant To Tonic Patte ter rns by Jim Ferguson and Howard Morgen

Understanding music's underlying logic helps you in everything from improvisation to songwrtting,, serious composition. absorbing new pieces. arranging chord-melo songwrtting lod dy solos, and accompanying other musicians. Regardless of style-including jazz, rock, ~classical classical,, and blues-if you learn every song or piece through rote memorization, then you're needlessly expending energy that could be put to better use in areas such as technique. theory. or sightt-rreading. As your harmonic perspective broadens. what were first presented as isolated patterns begin to combine in many ways. so grasping the concepts underlying chord movement is essential. Keep in mind that music theory can be viewed from more than one perspective; indeed, even in the classical realm. theoreticians vary somewhat in their terminology, symbolization. and so forth. This chapter is intended to introduce you to a variety of analytical approaches so that you can process new musical information faster and more completely.

·1

Seconds Ba Based Diat ato onic Pat atte tern rns s: Many chord progressions move straight up or down the harmonized scale diatonically in second intervals. Patterns of this nature usually consist of short fragments of the harmonized scale (the second line features a IVm7 chord): Ex

mill

Cmaj7

Dm7

I f

m

Em7 VII

Dm7

Ilr

mill

Cmaj7

n

•

-6

c 

Imaj7

IIm7

IIIm7

...

-e

IIm7

Imaj7

,....,

...

1

J\.. J\

-x

.IJ

oJ

~

~

1

 

~

 

 

97 Ex

Cmaj7

Dm7

ta r ta r

V II

Fm7

m

m

mm

V II m v

Em7

Cmaj7

Dm7

~9-~9

 \

eJ

VIII

Em7

e-

-6

Imaj7

I1m7

.•..

v

JL

IIIm7

IVm7

~

u

u

u

 

~

IIIm7

I1m7

Imaj7

v

1 ~

 

~

 

lJ

Ex

.r -

 

3 Cmaj7

Fmaj7

I l I I J I l v lIl I I ')

  eJ

11

Imaj7

~;

1

~

ar

Em7

lImr

 . .

Dm7 l

Cmaj7

IlIIl e-

IVmaj7

IIIm

..

I1m7

Imaj7

u

7

 

0

 

1 ~

When a song features a tonic chord for a prolonged time, such as two measures, arrangers often substitute seconds-based patterns to provide harmonic interest. For instance, two measures of Cmaj7 can be replaced with the sequence Cmaj7 - Dm7 -Em7 - Dm7, where each chord is played for two beats (depending on the context, adjustments may be necessary in order to progress to the next harmony). These two patterns

feature diatonic root movements: VIm7 - V7 - IVmaj7 - IHm7 - Hm7

(which can then resolve to Hm7 - V7 - I) and VII IIm m7(b (b5 5)- VIm Im7 7 - V7. The fo foll llo owin ing g gro rou up combines diatonic-seconds root movement and circle-bas ased ed mov ovem emen ent: t: Ex

4

Cmaj7

m Ill

Dm7

mv

A

eJ

m V II

Em7.

.•

Am7

Ir

,

Dmll

I1 x

G131 G13 1F

term

..

IrI l

C6II9fE C6

~

11

Imaj aj7 7

I1m7

   

IIIm7

VIm VI m7

~~

.

v

 

I1m7

.. ..

V7I7th

7

u

16//9/3rd 16

 

Ex

5 Dm7

Em7

Irl

I f

m

eVil

G13 ~9 1F

Fmaj7 V I I

••

C6   9 E I V I

~

~-4~

•

•

TIm7

,....,

~

.. I .

v

A

IVmaj7

IIIm7

  LV

U

I6/9/3rd ' '

7

7

 

~

V717th

~

.' =  .

.L

 

Ex

6

Dm7

g

1m '

-

•

J.

.

r IIm7

'

A

~

••.

IIIm7

IVmaj7

V7

~

~

I

V

  v

   

- 

;-

 

~ ~

- 

~

r

 :

~

J ..

'

I

.L

Ir

Ir

I r oJ

C

G7

r

,...., .a.

Fmaj7

Em7

v

 

Non~Circle-Based Chr Chrom omatic atic Pro Progre gressio ssions ns:: A wide variety of patterns fall into this classification. Let's take a look at some of the broad c oher ncrepse tsctio o fns). ch).romatic root movement (many of the remaining sequences will be examined in othe ot sect ions An in inttegral ele lem m_entin many chromatic patterns is the secondary diminished 7th chord. Just as the diminished triad in the harmonized major scale (VIdim, also known as the leadingtone triad) resolves upward to the tonic chord, that same half-step movement can be applied to any degree of the harmonized scale-or any other chord for that matter-using a full diminished 7th (See Laura, measures 26-27 and 57-58, and Misty, measure 17). (Analysis of the VIldim7 chord reveals that it is very similar to V7.) This example shows each step of the harmonized scale anticipated by its secondary diminished 7th:

 

99 Ex

my

m7

mIll

C'dim7

mIll

ar

D'dim7

maj7

  Idim7

IIm7

~lIdim7

Cmaj7

my

Edim7

m7

ar

II

I1Im7

YIII

Fmaj7

m

I

I1Idim7

IVmaj7

Y III

Fldim7

m

~IVdim7 ~IVdim 7

.: : .

G7

~m r 7

mx

m7

G'dim7

II

Ir

Vdim7

Im7

_ X IY

Bm7(~5)

A'dim7

m

X II

 VIdim7

  II

Vllm7(bS)) Vllm7(bS

Bdim7

1mr

lII

gxv

Cmaj7

Vlldim7

Imaj7

I

.

Secondary diminished 7ths are frequently featured in short patterns.

such as:

Ex  Ex  2

mm

Cmaj7

m a j7

mIll

my

  Idim7

IIm7

C'dim7

m7

my

D'dim7

  lIdim7

Em7

m

VI I

I1Im7

The common pattern Imaj7 - #Idim7 - IIm7 - V7 - Imaj7 employs a fragment of the pr pre eceding in g ex exam ampl ple e. (Als lsono onote te th tha at half lf-d -dim imin inis ish hed 7th chords. also known as m7~5 chords rds.. ca can n substituted for secondary diminished 7ths:)

 

Dtmtntshed 7th chords are also integral to many descending chromatic progressions. Dtmtntshed followtng followt ng example les s fe fea ature diminished 7th connections:

Ex.. 1 Ex Em7

m

V Il

E~dim7

D~maj7

Dm7

Ir

lir

W IV

Cmaj7

W ill

- 

IIIm7

~I1Idim7

IIm7

~lImaj7

.,.

Imaj7

= ---

A -£bf -£bf  

V

Ex 2

m lx ~

F m7(~5)

Fdim7

m

V  l

[e r

Em7

ll

E~dim7

mV

ar

Om7

O~9

Ir

Cmaj7

mill

-&

  IVm7(bS)

 ~ =  

IVdim7

IIIm7

~IIIdim7

IIm7

~I17

Imaj7

The

101 _ songs emp mplloy combinati mbinatio ons of circle-based, dia iato ton nic ic--se sec conds, and chromati tic c patt tte erns. iKamjn amjne e th the foll llo owing example for root movements discussed thus far:

Cmaj?

a l. .

,.

C dim

Dm?

IIr

mt r

D dim?

Em?

mr

Fldim?

Gm?

C?( S 9)

Ir m x

g r

l

It  



 

C di dim m?

m ll

.

.>

:>

Cmaj?

 

 

Um7 Um 7 v

 

~

I

;:

~

V7

16

 

 

- 

C9

~

oJ

~

103 Ex

2 B~maj7

Gmaj9

III

m

~

•

t

t

VI

b   l:

Imaj7

 l:

~TIImaj7

 

:

~

Ex

 u

u

:>

3

-V I I I

em7

Am7

If r ~

.,~

-

J ,jo

•

·

o

r

o

r

TIm7

·· ·

F9

m

VI I

,

···

r

..

··

'I

·

~VII7

IVm7

rro .I.

 

.,

. 

.....

 

D

.,

Tonic Ton ic Subdo Subdomin minant ant Toni Tonic c Pat Patter terns: ns: There is a wide range of patterns movement already discussed

based on I - IV - 1. Many of these employ aspects of root

(including secondary dominant chords), and some accommo 

date smooth moving bass lines. In the progression I - 17 - IV - IVm - I, 17 ac acts as V7 IV IV.. (S (See ee   Santa Claus Is Comin' to Town. ) A IIm7 - V7 relationship can be established by preceding 17wi 7witth Vm7, creating the IIm7 -V7 of IV resident in the pattern I - Vm - 17 - IV. Iaug can be used to connect I to IV. as in the sequence I - Iaug - IV (the raised 5th of laug resolves up to the 3rd of IV). In the pattern I - ~V7- IV. ~V7is built on the lowered 5th of 17. Preceding ~V7 with ~IIm7 re results in the sequence I - bIIm7 - ~V7- IV. The sub dominant

(IV) can return

to the tonic (I) by several different routes.

Diminished

chords connect IV to I in two different ways: IV - IVdim7 - I/3rd. which descends chromatically. and IV·- #IVdim7 - I/5th,

which ascends chromatically. Another common device fea-

tures IV moving to its parallel minor with the same root note (IV - IVm). In jazz, the IVm is commonly interpreted - V7 relationship)

 

as IVm6 or IVm7. Progressing from IVm7 to ~VI17( VI17(e establi lis shing a II IIm m7

often extends the IV - IVm7 sequence, which then returns

to 1.

The Th e following is a common chromatic pattern that is often used to end an arrangement:

F'm7(~5)

gvm

gvm

m7

~

~~

~

m7

Ebm7

r

n

m7

I f

Ir

Obmaj7

h:~

~

~

IIV

:;J

aJ

. hVm7(~5) rt 

.I.

~v

' 

IIIm7

bIllm7 u

u

.-

;. .

TIm7

bUmaj7

~

~

.-

u

v

 

;/

u

v

 

or.

D

IVm7

I I

Cmaj7

;m v m - 

- 

Im~j7 u

-:

~

.-

the preceding example. observe how the upper voice is maintained throughout the proession as the others descend chromatically. Keep in mind that it is common for composers d arrangers to approach virtually any chord chromatically from a half-step above or below as in Imaj7 - IVm7 - IIIm7 and Imaj7 - #IIm7 - IIm7.

lrds-Based Roo oott Mov ovem emen ent: t: Earlier in this -chapter on progressions. it was established that the tonic chord (I) can brogress up a major third to IIIm or down a minor third to VIm. as in Imaj7 - IIIm7 -VIm7 IIm II m7 - V7 - Imaj7 and Imaj7 - VIm7 - IIm7 - V7 - Imaj7; however. other thirds-based patrns rn s are possible. Many non-diatonic thirds patterns are based on the chromatic 3rd relaonshtp shtp,, a device commonly employed in many forms of music. including jazz. classical, 'P. rock. and film scores. The formal definition of the chromatic 3rd relationship states at a tonic chord can progress to a major or minor chord that is a minor or major third tgh tg her or a major or minor third lower. This results in these patterns: I - ~IIIm.I - ~III.I , I - VI VI,, I - bVlm.a .an nd I - ~VI.Frequently. a chromatic 3rd relationship is used to modulate a new key. e quality of chords in a chromatic 3rd relationship can vary beyond major and minor trt. In jazz. dominant chords are common; here are three examples: Ex

m

Cmaj7 V III

a Eb9

  aJ

bIll7

 

TIm7  

.I.

-

gVIII

P'

15

.... D

V III

r>

Imaj7

A

Omll

-:

~,

v ~ v

v £v

~,

103 Ex 2

 r

B~maj?

Gmaj9

a

•

m

t

V

 

t

Imaj7

l:

~IIImaj7

....

.~

.  .

/I.. /I

TOo

~

 

Ex 3

-

Iv

ern?

Am? Am ?

J

I

o

··

r

/I.. /I TOo

···

r

IIm7

  .. ,.

..

~ ~

I

J ...

r

~

·· ·

o

'I

IVm7

 

 

o

Ir

l

V I I

,a

-

 

~VII7

~

~

~

 

onic oni c Subdom Subdomina inant nt Tonic Tonic Pat Patter terns: ns: ere is a wide range of patterns

based on I - IV - I. Many of these employ aspects of root

movement alre rea ady discussed (i (in ncluding secondary dominant chord rds s), and some accommoate at e smooth moving bass lines. In the progression I - 17 - IV - IVm - 1,17 acts as V7/IV. (See Santa Claus Is Comin' to Town. ) A IIm7 - V7 relationship can be established by preceding 7 with Vm7, creating the IIm7 -V7 of IV re resident in the pattern 1- Vm - 17 - IV. I au aug can be sed to connect I to IV, as a s in the sequence I - Iaug - IV (the raised 5th of Iaug resolves up to e 3rd of IV). In the pattern I - bV7- IV, bV7is built on the lowered 5th of 17. Preceding bV7 tth tt h Hlm? results in the sequence I - bIIm7 - bV7 - IV. e subdominant

(IV) ca can return

to the tonic (I) by several different routes.

Diminished

ord or ds connect IVto I in two different ways: IV - IVdim7 - I/3rd, which descends chromati, and IV - #IVdim7- I/5th, which ascends chromatically. Another common device fe fea aes IV moving to its parallel minor with the same root note (IV - IVm). In jazz, the IVm is IVm m7. Progressing fro rom m IV IVm m7 to bVII7(establishin ing g a IIm7 unmonly interpreted as IVm6 or IV V7 re rellationship) oft fte en extends the IV - IV IVm m7 sequence, which then returns

 

to I.

104

Although space does not permit deta Although detaiiled discussion of chord inversion and voicing. the precedi ding ng patt tte erns based on 1 - IV - 1c 1ca an accommodate several bass lines that move smoothly in second interva valls. inc incllud udiing 1 - 17/~7th - IV/3rd - IVm/~3rd - 1/5th and IVm6 - 1/3rd. Ana An aly lyze ze these examples: Ex  Ex   G6

m

G 7 1= >19 )

m

V1I1

•

..,. A

 

VII

v

IV//3rd IV 7

 

r

r

-

I717th

VIII

IVm7

v

v

 

F9

G(orBm)

iljVII

.-.

,.

-,

I 16

'T' .I.

m

b1 J bJ

J .I

--

Cm?

C 6  9

V11I

etc.

-II ~VI17

v

v

v

v

r

I13rd

v

r

  /

A

v

v

Ex 2  C

, •

m

m

Bbm6

Ir

VII

mill

mV

Bb6

F?IC F? IC VII

FA

etc.

I

.. I1Sth

..

.. 17/Sth

..

  II

  II

IV6

  II

  II

IVm6

~ I13rd

;

f  v

- 

- 

- 

- 

 

.,

 

Learnin Lea ing g chord patterns one at a time can be a lengthy. fr frus ustr trat atin ing g pr proc oces ess s; the key is to und un derstand the br bro oad categories of thei eirr und nder erly lyin ing g ro roo ot move vem men entt. One of the greatest benefi fits ts of experie experien ncing a wide range of chord progressions is being able to ide dent ntif ify y so soun unds ds imm im med ediiately ely    whi hic ch enables you to operate on a much more effic ficie ient nt mu musi sica call leve levell.