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Vi–ii–V–I
__NOTOC__In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). A vi–ii–V–I progression in C major (with Inverted chord, inverted chords) is shown below. It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent root (chord), roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to Inversion (interval), inversion.Bruce Benward and Marilyn Nadine Saker, ''Music In Theory and Practice'', seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. . For instance, in C major, the chords are Am–Dm–G–C, which have roots that descend by perfect fifth (or ascend by fourth), as shown below.William G Andrews and Molly Sclater (2000). ''Materials of Western Music Part 1'', p.227. . : Examples Examples of vi� ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Submediant In Chain Of Fifths
In music, the submediant is the sixth degree (music), degree () of a diatonic scale. The submediant ("lower mediant") is named thus because it is halfway between the tonic (music), tonic and the subdominant ("lower dominant") or because its position below the tonic is symmetrical to that of the mediant above. (See the figure in the Degree (music)#Major and minor scales , Degree (music) article.) In the Solfège#Movable do solfège, movable do solfège system, the submediant is sung as ''la'' in a major mode, ''le'' or ''lo'' in do-based minor and ''fa'' in la-based minor. It is occasionally called superdominant, as the degree above the dominant. This is its normal name (''sus-dominante'') in French. In Roman numeral analysis, the Triad (music), triad formed on the submediant is typically symbolized by "VI" if it is a major triad (the default in a minor mode) and by "vi" if it is a minor triad (the default in a major mode). The term ''submediant'' may also refer to a relationsh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural, or simply changes) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the " key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Circle Of Fifths
In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music (12-tone equal temperament), the sequence is: C, G, D, A, E, B, F/G, C/D, G/A, D/E, A/B, F, and C. This order places the most closely related key signatures adjacent to one another. Twelve-tone equal temperament tuning divides each octave into twelve equivalent semitones, and the circle of fifths leads to a C seven octaves above the starting point. If the fifths are tuned with an exact frequency ratio of 3:2 (the system of tuning known as just intonation), this is not the case (the circle does not "close"). Definition The circle of fifths organizes pitches in a sequence of perfect fifths, generally shown as a circle with the pitches (and their corresponding keys) in clockwise order. It can be viewed in a counterclockwise direction as a circle of fourths. Harmonic progres ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Seventh Chord
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, 3, 5, 7). In other words, one could think of it as a minor triad with a minor seventh attached to it. For example, the minor seventh chord built on A, commonly written as A−7, has pitches A-C-E-G: : Minor/minor seventh chord A seventh chord with a minor third, perfect fifth, and minor seventh is commonly called a minor seventh chord, but also sometimes a minor/minor seventh chord to distinguish it from the minor/major seventh chord discussed below. It can be represented as either as m7 or −7, or in integer notation, . This chord occurs on different scale degrees in different diatonic scales: * In a major scale, it is on the supertonic, mediant, and submediant degrees (, , and ). This is why the ii in a ii–V–I turnaround is a minor seventh chord (ii7). * In a natural minor scale, it is on the tonic, subd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Seventh Flat Five Chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1, 3, 5, 7). For example, the half-diminished seventh chord built on B, commonly written as Bm7(♭5), or B7, has pitches B-D-F-A: : It can be represented by the integer notation . The half-diminished seventh chord exists in root position and in three inversions. The first inversion is enharmonic to a minor sixth chord: In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B7 in C major) and is thus a leading-tone seventh chord in the major mode.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 217. . Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D7 in C minor). It has been describ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Major Seventh Chord
A minor major seventh chord, or minor/major seventh chord (also known as the Hitchcock Chord) is a seventh chord composed of a root, minor third, perfect fifth, and major seventh (1, 3, 5, and 7). It can be viewed as a minor triad with an additional major seventh. When using popular-music symbols, it is denoted by e.g. m(M7). For example, the minor major seventh chord built on A, written as e.g. Am(M7), has pitches A-C-E-G: : The chord can be represented by the integer notation . Use The chord occurs on the tonic when harmonizing the harmonic minor scale in seventh chords. That is, the first, third, fifth, and seventh scale degrees of the harmonic minor scale form a minor major seventh chord, as shown below. : The harmonic minor scale has a raised seventh, creating a minor second (half step) between the seventh and the octave. This half step creates a pull (leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Minor Scale
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale. It can also be derived from the diatonic Dorian mode with a major seventh. : Thus, the jazz minor scale can be represented by the following notation: :1, 2, 3, 4, 5, 6, 7, 8 The intervals between the notes of the jazz minor scale follow the sequence below: : whole, half, whole, whole, whole, whole, half Jazz theory The scale may be considered to originate in the use of extensions beginning with the seventh in jazz and thus the necessity to, "chromatically raise the diatonic 7th to create a stable, tonic sound," rather than use a minor sev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Seventh Chord
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, 3, 5, 7). In other words, one could think of it as a minor triad with a minor seventh attached to it. For example, the minor seventh chord built on A, commonly written as A−7, has pitches A-C-E-G: : Minor/minor seventh chord A seventh chord with a minor third, perfect fifth, and minor seventh is commonly called a minor seventh chord, but also sometimes a minor/minor seventh chord to distinguish it from the minor/major seventh chord discussed below. It can be represented as either as m7 or −7, or in integer notation, . This chord occurs on different scale degrees in different diatonic scales: * In a major scale, it is on the supertonic, mediant, and submediant degrees (, , and ). This is why the ii in a ii–V–I turnaround is a minor seventh chord (ii7). * In a natural minor scale, it is on the tonic, subd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turnaround (music)
In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song.Randel, Don Michael (2002). ''The Harvard Concise Dictionary of Music and Musicians''. . p.693 The turnaround may lead back to this section either harmonically, as a chord progression, or melodically. Typical examples Typical turnarounds in jazz include: *I–vi–ii–V ( ii–V–I turnaround, circle progression) *I-VI-ii-V *I–VI–II–V (I–V/ii–V/V–V) *I–iii–ii7–V7 *I–vi–VI711–V * V–IV–I (blues turnaround) *I–III–VI–II7 ( Tadd Dameron turnaround) *iii-VI-ii-V Turnarounds typically begin with the tonic (I) (or a tonic substitute such as iii) and end on the dominant (V7), the next section starting on the tonic (I). They may also end on II7 (which is a dominant substitute). Thus when used in a twelve bar blues pattern, the twelfth bar may end on th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh Chord
Domination or dominant may refer to: Society * World domination, structure where one dominant power governs the planet * Colonialism in which one group (usually a nation) invades another region for material gain or to eliminate competition * Chauvinism in which a person or group consider themselves to be superior, and thus entitled to use force to dominate others * Sexual dominance involving individuals in a subset of BDSM behaviour * Hierarchy Music * Dominant (music), a diatonic scale step and diatonic function in tonal music theory Albums * ''Domination'' (Cannonball Adderley album) or the title track, 1965 * ''Domination'' (Morbid Angel album), 1995 * ''Domination'', by Domino, 2004 * ''Domination'', by Morifade, 2004 Songs * "Domination" (song), by Pantera, 1990 * "Domination", by Band-Maid from ''World Domination'', 2018 * "Domination", by Symphony X from ''Paradise Lost'', 2007 * "Domination", by Way Out West from '' Way Out West'', 1996 * "Domination", by Within t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Levine (musician)
Mark Jay Levine (October 4, 1938 – January 27, 2022) was an American jazz pianist, trombonist, composer, author and educator. Early life Mark Jay Levine was born in Concord, New Hampshire, on October 4, 1938. He began playing the piano at the age of five and started trombone in his early teens. He attended Boston University, and graduated with a degree in music in 1960. He also studied privately with Jaki Byard, Hall Overton, and Herb Pomeroy. Career After graduating, Levine moved to New York, where he freelanced and then played with musicians including Houston Person (1966), Mongo Santamaría (1969–70), and Willie Bobo (1971–74). Levine then moved to San Francisco, and played there with Woody Shaw in 1975–76. Levine made his first recording as a leader for Catalyst Records in 1976. He also played with the Blue Mitchell/Harold Land Quintet (1975–79), Joe Henderson, Stan Getz, Bobby Hutcherson, Luis Gasca, and Cal Tjader (1979–83). From 1980 to 1983, he concentr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
I Got Rhythm
"I Got Rhythm" is a piece composed by George Gershwin with lyrics by Ira Gershwin and published in 1930, which became a jazz standard. Its chord progression, known as the " rhythm changes", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology (Thrivin' on a Riff)". Composition The song came from the musical '' Girl Crazy'', which also includes two other hit songs, " Embraceable You" and " But Not for Me", and has been sung by many jazz singers since. It was originally written as a slow song for '' Treasure Girl'' (1928) and found another, faster setting in ''Girl Crazy''. Ethel Merman sang the song in the original Broadway production and Broadway lore holds that George Gershwin, after seeing her opening reviews, warned her never to take a singing lesson. The piece was originally penned in the key of D major. The song melody uses four notes of the five-note pentatonic scale, first rising, then fallin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
