I just finished putting up the next two lessons in Secrets of Chords and Chord Progressions and guess what? The lesson dealt with the "Blue Moon" chord progression: I - VI - II - V. This is the second chord progression Scott mentioned early in this thread. Here is a direct link to the lesson:
http://psrtutorial.com/Resources/R_ChordSecrets/R_Ch202/W29_BlueMoon/w29_bluemoon.html

The second lesson (week 30) deals with embedded chord substitutions for this chord progression.

Scott, I hardly think you sharing your musical knowledge with us is a waste of bandwidth. To the contrary I can't really think of a better use of the bandwidth.
Terry

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jam on,
Terry http://imjazzed.homestead.com/Index.html

hi Terry, I guess what I actually meant to say was that there is already such a wealth of music theory knowledge already available on the web, that rather than taking up undue bandwidth, providing links to existing internet sites on the subject might be better. Joe Water's 'Secrets to Chords & Progressions' tutuorial series located on his PSR Tutorial website is a fine example of this. I particularly like chapter 30 about inserting neigbhoring 'chromatic approach' type chords to the basic I-vi- ii- V progression.

One of the reasons pro musicians prefer to add 'chord substitions' (chromatic approach, tri tone subs, etc) to this progression is that after awhile, hearing this chord progression played over and over gets BORING. Chord substituions can add spice and a more contemporary or sophisticated sound to an otherwise basic standard progression. Experminenting with chord substitions & voicings is one KEY ingredient to sounding like a pro vs amatuer.


The I-vi-ii-V7-I progression is used extensively on so many popular songs over the years. Just to name a few songs: Let's Call the Whole Thing Off, Heart and Soul, Sleigh Ride, Hey There, Why Do Fools Fall in Love, Try to Remember, Have yourself a Merry Christmas, I Love YOu For Sentimental Reasons, Put Your Head on My Shoulder, Daddy's Home, Telstar, Breaking Up is Hard to Do, Penny Lane, Don't It Make My Brown Eyes Blue. One of the reasons this has become such a standard progression, is that the interval between each chord is up a perfect 4th. This internval provides the strongest harmonic movement in western music, with the V7 -I final cadence producing the strongest movement of all.

In fact, whenever you you play a domininant 7th chord, like G7, it 'begs' for you to play the I chord (C) in order to resolve the sound of instability in the G7? If you haven't already tried this, please go to the keyboard NOW and play a G7 chord. Play that G7 chord a few times. Doesn't it seem to be wanting you to follow that chord with a C maj chord? Please 'report back' after you've tried this out yourself, and tell me if you agree with me or not. Scott

Scott,
In a major scale, the V chord is not assumed to have a flatted seventh, although it IS very common. The number system refers only to a basic tiad, unless an embellishment is added.
The rest of your description is right on the money, and very easy to understand.

Gee Uncle Dave, what's a tiad? I haven't heard of one of those in music could you elaborate. What notes are tiads made up of?
Terry



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jam on,
Terry http://imjazzed.homestead.com/Index.html

True. That's why I added the 7 (as an embellishment) to signify the addition of the flatted 7th in the V chord.

btw: The REASON our ears beg to hear a I chord (C) following a V7 chord (G7) is because of the unstable tri-tone interval: B & F (3rd & b7) which occurs in all major dominant chords. Prior to the 20th century, the tritone interval (b5) was considered the devil's interval and accepted music required that a major dominant chord be 'resolved' to a more stable chord. Only in the 20th century is the dominant chord now commonly played (ei: in the Blues, and jazz & rock) without requiring resolution to a I chord:
http://www.angelfire.com/fl4/moneychords/Blues.html


Scott

My typist has the day off.
Of course I meant TRIad.
Damn mittens - really get in the way of good typing !

I'd hate to find out how those mittens might affect your arranger keyboard playing.

Dave,
Glad you straightened me out on that....I was beginning to feel ripped off for my college music theory classes tuition.

Scott, with those arranger mittens, man can ya' play some big time power chords or what?
Terry

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jam on,
Terry http://imjazzed.homestead.com/Index.html

[This message has been edited by trtjazz (edited 06-18-2003).]

Btw: On the subject of mittens, a memorable experience I had was attending a concert by the legendary jazz pianist-vocalist, Shirley Horn, who wore gloves, with the finger tips of the gloves cut off. She (of course) played & sang splendidly. She is one of my all time favorite jazz pianist-singers who I had the priviledge to meet in person. You can listen to a radio show featuring her & her music here. HIGHLY recommended:
http://www.theconnection.org/shows/2002/05/20020509_b_main.asp#

Scott

[This message has been edited by Scottyee (edited 06-18-2003).]