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  • All About Chord Progressions Howard Morgen

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    Julio Sanchez
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    All about chord progressions, Articles by Howard Morgen in Guitar Player Magazine

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    All about chord progressions, Articles by Howard Morgen in Guitar Player Magazine

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    745 visualizações14 páginas

    All About Chord Progressions Howard Morgen

    Enviado por

    Julio Sanchez
    All about chord progressions, Articles by Howard Morgen in Guitar Player Magazine

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 14
    Masters Series #13 ALL ABOUT CHORD PROGRESSIONS ‘OST FORMS OF MUSIC, FROM COMPLEX WAGNERIAN ‘opera othe lightest pop, have chord pragression—ona chord ‘moving to ancther—al their core. I youve ever arranged a ‘piece for solo gular, ranscribed a song of of arecord satin with aband playing an unfamiliar tuna, analyzed a dticultcomposition,or wrtlan an ‘original work, then you've undoubtedly encountered chord patterns and have an idea of how icky they can be and how valuable an understand- Ing of them i. Statistical, any given harmony can move oan almost bewildering array of chords. For instance, even i you mil chord qualty to four iiferant general types—majr, minor, dominant, and diminished—and Hneringrayc | fi sty yaijable through’ thee publications, ‘Can also be ordered from Grace... CourvesrProcuctons ser 4s Gran lock tty 11022), I eeeoran |cassettetapes. caer en ince 1S debutin the July 87. iss Maso Sores hs oa “tured arlicles by Joe Dit, t pees ne Frank Gambale,, a a Tanenbaum, Ralph Town- asa 1 Abercrombie, Herb. jona Boyd; Aric Rubin, Guoictee andSteve 66 Guraapuaver/suty 1988 ‘consider only root position (where the root of the chord is the fowest- ‘sounding note), any given chord can progress to one of 44 others (the 41 remaining notes ofthe chromatic scale mutipied tes four). But that's ony the tp of the ceberg. Once you add inversions and other {ualitos o the equation, things become goometically more complex. The bottom line for why a composer, Songwriter or improviser uses ‘particular sal ofchoros i tha they sotind good, One ofthebeauties of ‘musics that practcaly any given chord can follow another one, which ‘can make apiece interesting by adding an element of unpredictably However, certain progressions, sequences, series, or pallerns— ‘ever you choose to call them —are pleasing because hey ara ‘amilar- ‘sounding and accepiable othe ear, This s because they tend fo occur ‘over and over again. These common patiems can vatylnfength fom a3 ‘hott as two cansecutve chords to soquences lasting for an entire piece (a common 12-bar blues, for instance). ‘Music theory isnot set of formulas forwiling music, butinsteadis. 2 collection of musical practicos obsorvod fo have been used over a long time-frame, and therefore considered to be common practice. In practical terms, theory isa system for analyzing. studying, end codiying ‘musical techniques, which gives you an understanding of what has gone on inthe past sothat you can then ullize and manipuiate them for your own purposes, CCeniral fo music thoory is harmony —the chord realm, ncompase- ing harmonic structure, voice-eading, inversion, progression, modula- tion, and other subjects, This article fs ited to chord progression in {ens of root movemont—common chord sequences determined by the succession of rool (onic) noles. Keep in mind that although root ‘movement only represents part of the harmoniclandscape, knowledge of chord pattems is invaluable to any serious guitars, regardless of style \inile melodies, voicings, inversions, and the location of harmonic sequences vary rom song to song, progressions remain essentially the same. Rather than @ seemingly long string of unretated chocds, a relatively complexsongis often merely a series of short, logical patterns that often temporary pass through a variety of keys, Understanding the ‘routes chards tend to move in and now thase connections form argor patterns can help ouin everything from improvisation to songwriingto Serious composition, learning new repertolre, accompanying other ‘musicians, and understanding more advanced material, such as ‘subatitution. ‘A compete, in-depth study of progressions, encompassing every- {hing from the classical comy. 9n practice period to modem classical techniques to jazz to rock, is beyond the scope ofthis aricle.Progres sions that are dependent upon specific voice-eadina, modulation, voicing, substitution, and inversion can't be considered here in detail (look or future instalments of Masors Seria onthoso topics), But wile this ance is primary limited to diatonic progressions and chromatic oot movement within a single key center, it covers a wide range of Useful pattems and chord mevement tendencies. by Howard Morgen & Jim Ferguson Roman Numeral Symbolization denttying progressions with symbols, such a8 C, F,G7, ele, tits their discussion fo only one key ala time. However, symbolizing ssequencas with Roman numerals not only enables you to transpose ‘examples romkey tokey with great ease, butalegallowsyouto se0the texact function of each chord within a given pattern and to quickly recognize simiar sequences in other keys, (ANhough symbolization Ie ‘ot standardized and a variety of systems are in use, they usvally have ‘many simiariies and can be quickly deciphered) Chords derived trom notes ofa given major or minor scale can be described as diatonic. Harmonized scales, where chords are con- ‘structed upon each soala degree using ony noes resisontinthe scale, ‘constitute the basic harmonies of a given Key. Tha flowing example shows 8 © mejor scale hammond wih aon rot poston tad ‘obsorve ihat these chords are constructed of consecutive t Iienals found winin inte major eee, a charaterels of conven. tional harmonic practice. The Roman numeral beneath each chord Indicates ts postion wihin the particular key, and the designation {allowing certain numerals indicates the quality of each chord, ARoman Snumeral by Bse indicates a major chord, an “in” indicates a minor chord, and “cim" indicates. @ diminished chor in subsequent ex- amples, 7" by self indicates a dominant 7th chord, "mai?" represents _aimajor Th chord, “aug” represents an augmented chord, and "m745" stands for a hall-ciminished chord (various combinations of those symbols are also employed). sJazz.and other forms of musi lize datonic 7th chords. Hereis the C major scale harmonized in clatanio 7th chords with ther coinciding symbols: Diatonlc seventh chords ‘Cm? Dm? Em Frait @7 Am? Bains inate nT rT var vies ‘Chord whose roots are diatonic but otherwise contain ane or more ‘non-diatonic notes, such as A745 in the key of C major, can be desig ‘atedin Roman nurneralform by qualifying tke so: 7 €5, VI, Vim7$5, Vildim7, etc. Moreover, chords whose roots are outside of the relative diatonic scale can be indicated by placing the appropriate accidental uve tesarourTan Laven 67 MASTERS SERIES before the numeral. For example, in the key of C, the progression ‘Cmaj7-Evmej7-Abmaj7-Domal7-Cmaj? translates as. na)7-bllnai7- lai ¥itma7-mal? ‘Since there is more than one minor scale, identifying and symbolz~ ing minor key-based progressions sa bit ticky. Heve ae the Cmelodic, minor scale and he € natural minor scale harmonized in tiads (minor Scales harmonizedin Tihchords are coveredlate’.'simportant to ‘Observe hatin the melocke mina onal, Iisminor. lis augmented, {and Vare mejor, and VI and Vil are diminished; while in natural minor, I is diminished, lis major, IV and V are minor, and Vi and Vil are major. (These qualities change consicerably when minor scale-basedtriads ‘are extended to 7th chords; this also wil be discussed later), Melodic minor scale ‘cm Om Eiaug Fm = «GAN Bick ‘Some progressions aly oninversions, or chords with bass notes other than the roo. Teindicate such chords, the Roman numeralis {ollowad bya slash /) andthe requiredbassrote.Forinslance.the progression C/E-Ebdim7-Dm?-G7 can be symbolized as |/ 3rd bis lien?-V7, Root Movement ‘Most harmony texts include tables of common diatonic root pro ‘gressions. though theoreticiansdo notcompletely agree on chord ‘Sequences, the folowing sa general compendium of chord movement tendencies. These chords arevriten relative lomajor keys; however, they also can be interpreted in terms of minor keys. Keep in mind thal ‘he strongest harmonic resolution is V-I or Im), ‘ ‘canprogresstoany other chord; howover,itfavors IV or Vin ‘addi, can act a anintermeciate harmony between any two ‘chords formulated ftom this list «im gravitates toward Vor Visi, and sometimes I. « ltim usually moves to Vim or IV fess 50 to V and m/c, ‘* Ivisusvally followed by V orl, and sometimes Vim, lim, and Viicim, ‘© Viost often goes to 1, and sometimes IV or Vim. {© Vim can progress to ll, IV, 0 V. ‘© Vildim usually resolves to |, ut also goes to lim (VI-IN is cearmon in minor keys) Fea! free to construct progressions fromthe preceding list by assembling strings of chords according to their natural tendencies. AS fn exercise pol these sequences: HIV-Viewlim-V-t|-Vildim-lm-1V Vek anal il-Vir-lin-Mliin ‘Ananalysis o! the preceding list reveals some of the common intervals that chords tend tomave in. Perhaps tholargosl porcentage ot progressions moves. perfect fithdown (oritsinversion, apertect fourthup), exemplified by patterns suchas I-V.V-I lim-V, Vim-llm, Vildim-lim lim Vim-llm-V-l,and s0.0n. Alsonotice that diatonic stepwise motion's apparent (ie, 1V-V, Vildin-,jlln-lim/3rd, im, ‘to.), asisrootmovement by thiraintervas (lim-V.tim-Vildim, etc), ‘While the preceding table pertains 1 datonic root movement, pattems

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