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A chord change is a movement from one chord to another and may be thought of as either the most basic chord progression or as a portion of longer chord progressions which involve more than two chords (see Shift Of Level ). Generally, successive chords in a chord progression share some notes. This provides harmonic continuity within the progression (see Voice Leading ). The most common chord progressions in Western Classical and Pop music are based on the first, Fourth , and Fifth Scale Degree s ( Tonic , Subdominant and Dominant ); see Three Chord Song , Eight Bar Blues , and Twelve Bar Blues . The chord based on the second Scale Degree is used in the most common chord progression in Jazz , ii-V-I. Chord progressions are usually associated with a Scale and the Note s of each chord are usually taken from that scale. Melodies and other parts usually comply with the chord changes in that their notes are usually taken from the chord currently playing. Notes which are not taken from the chord are called Nonchord Tone s and usually resolve quickly to a chord tone. The "circle progression" is generally regarded as the most common progression of the Common Practice Period . A circle progression is a progression of descending perfect fifths, and derives its name from Circle Of Fifths . Circle progressions, in practice, often occur in their inversion, an ascending perfect fourth. Circle progressions make up many of the most commonly used progressions, such as ii, V, I in major keys, and the strong pull of a circle progression is a large part of the reason the dominant chord (V - if functioning as a dominant chord will be a major triad or a dominant seventh chord, even in minor keys) "leads" to tonic (I, or i). In music of the common practice period, generally only certain chord progressions are used. Many of the other unused progressions are not traditionally considered Tonal . It should be noted, however, that in most styles of music, chord progressions are resultant from voice leading patterns; thus the preceding observations are merely generalizations. VISUAL TABLE FOR THE RULES FOR COMMON CORD PROGRESSIONS CordProgressionVisual.GIF REWRITE RULES Steedman (1984) has proposed a set of recursive " Rewrite Rules " which generate all Well-formed Transformation s of jazz, basic I-IV-I-V-I twelve bar blues chord sequences, and, slightly modified, non-twelve-bar blues I-IV-V sequences (" I Got Rhythm "). Important transformations include:
1 2 3 4 5 6 7 8 9 10 11 12 I/IV/I/I7//IV/VII7/III7/VI7//II7/V7/I/I//
...7 8 9... ...III7/bIII7/II7...
Sequences by fourth, rather than fifth, include Jimi Hendrix's "Hey Joe": 1 2 3 4 5 6 7 8 9 10 11 12 bVi, bIII/bVII, IV/I/I//bVI, bIII/bVII, IV/I/I//bVI, bIII/bVII, IV/I/I// These often result in Aeolian Harmony and lack Perfect Cadence s (V-I). Middleton (1990, p.198) suggests that both modal and fourth-oriented structures, rather than being "distortions or surface transformations of Schenker's favoured V-I kernel, it is more likely that both are branches of a deeper principle, that of tonic/not-tonic differentiation." REFERENCES
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