Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression

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1 Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression C. Two more 7 th chords: Major-7 th ; half-diminished-7 th a. The 7 th chords of the major scale: earlier in this module we discovered that the dominant-7 th chord falls naturally on the fifth note (V) of the major scale, and that minor-7 th chords fall naturally of II, III, and VI of the major scale. Of the three remaining scale degrees, major-7 th chords fall naturally on I and IV, and a half-diminished 7 th falls naturally on VII: 2c13 b. The major-7 th chord is a major triad with a major 7 th added, and is very familiar in the jazz harmonic vocabulary. If you listen carefully you will find that the chord is a little more dissonant than either the minor-7 th or the dominant- 7 th chords, because the root and the 7 th may be only a halfstep apart. 2c14 Copyright 2012 Peter J. Clements

2 When the major-7 th chord is used in the middle of the phrase it typically moves to the next chord much like other 7 th chords do; the seventh will usually move downward by step: 2c15 The tonic major-7 th chord (I7) is often used at the end of a phrase, as a stable, final chord. This is a departure from traditional classical music, folk music, and even show tunes, where the final chord is almost never a 7 th chord. In Module 2B(c) various possible final I chords were shown, including added-6 th and major-7 th versions. Another common variation is the I(6 9), including both the 9 th (or 2 nd ) and the added 6 th : 2c16 c. The half-diminished 7 th chord consists of a diminished triad plus a minor 7 th, or two minor 3 rd s and a major 3 rd. A diminished 7 th (fully diminished) consists of three minor 3 rd s. The half-diminished label is also used in classical music theory, but in jazz the chord has another name: minor-7 th (b5). This relationship is seen in the second line of the following example: 2

3 2c17 In the minor key a half-diminished chord falls naturally on II, and is almost always part of the II7 V7 I pattern. Because of the unique colour of the half-diminished 7 th, it is often borrowed in the major key as well: 2c18 D. The Basic II V I Progression a. What is a chord progression? Until now, we ve only been dealing with materials of music: tetrachords, some scales, some 7 th - and added 6 th chords, with a little exploration into how one chord leads to another (e.g. resolution of dominant-7 th s). There are still lots more materials to add to our collection, but from now on we ll be focusing much more on chord progression, starting with a 3

4 succession of three chords, then growing into larger contexts. This is the real central focus of jazz theory. It s a study that is never complete; there are always new harmonic colours and progressions to be discovered. A chord progression is nothing more than a sequence of chords that form a logical pattern, and most of these patterns occur in music over and over, with countless variations. What is remarkable is that many jazz musicians don t read music at all, but just by ear they have a repertoire of hundreds of chord patterns, and they really have a thorough understanding of jazz theory, without ever really thinking about it. As we move forward through our study of chord patterns it s important to be able to identify these patterns both as specific chords (Dm7 G7 C) and as a general progression type: (II7 V7 I). b. II V I at the cadence. The harmonic progression II V I is probably the most useful tool in the box for the jazz player, composer, or arranger. It is also very commonly used in various contemporary idioms: folk music, rock, gospel, blues, and in classical music as well. In this section we will deal with it mostly in its simple form, and we will return to it later in our study. In its simple form it typically appears as the final progression in a musical phrase, what would be labeled a Perfect or Authentic cadence (with many variations in terminology) in traditional classical theory: 2d1 4

5 In the minor key, the seventh step of the scale is most often raised to produce a major dominant triad. The II7 chord is the half-diminished version, as discussed in the previous section. 2d2 In the classical tradition of the 17 th, 18 th, and 19 th centuries, the II V I progression, with its many variations, is as common as it is in jazz. In most current textbooks the II chord is classified as a pre-dominant chord, preceding the dominant and tonic chords in the progression to a cadence. Here is an example from a Haydn symphony, where the predominant chord is stretched out over several measures. There is no doubt that the cadence is inevitable, and this stretching of the predominant harmony (a simple form of expansion or prolongation ) is very effective: 5

6 2d3 6

7 In an earlier example only basic triads: Dm, G, and C were used. In some contemporary idioms (folkmusic, country, for example) the basic triads might be the most appropriate chords for the style (although the dominant-7 th would likely be used), but in a jazz style often all three chords would be coloured with at least a 7 th or added 6 th : 2d4 Here are other variations of the basic II V I progression. In every case the functions of the three chords are identical (pre-dominant, dominant, tonic), but the examples differ by colour, especially the pre-dominant chord. 2d5 c. Other places in the phrase. The II V I progression is not always used at a cadence; often it appears at the beginning or in the middle of a phrase, and this is where it is important to think about the general harmonic pattern (II V I), as well as the specific chord symbols: 7

8 2d6 Look at the brackets under the music, and notice that there are four II7 V7 I7 progressions that seem to be in three different keys (Eb- C- Bb). When you hear the music (you will find it in the PLAY/SING section following) you will discover that it all seems to belong together, and the places where it appears to move to another key are very temporary. In traditional Music Theory these short excursions to other keys are often referred to as tonicizations, that is, a momentary focus in a different key, but for a short enough time that there is no sense of really changing the key, which would then be called a modulation. True modulation is unusual in the jazz repertoire, but it does occur sometimes in longer pieces. There is an important principle here, shown in the overall reduction, or summary, below the music. The reason that these tonicizations seem to flow smoothly from one to the other is because there is a logical harmonic connection between them; a larger chord progression: I, VI, V, I. The idea that there can be more than one harmonic progression at the same time, at different levels, is an important concept that will come up again as we continue our study. 8

9 d. Interpolation. Especially in ballads, with slow moving harmony, a common technique is to interpolate other chords between the basic chords in the harmony. Look at the following example. In the second version, second line, the arrival on the tonic chord is delayed a whole measure by interpolating II7 and V7. At the end of the line there is a tonicization of the dominant (C), by preceding it with it s own II7 and V7 (Dm7, G7), then the dominant is converted to a dominant-7 th (C7), delayed by inserting it s II7 chord (Gm7). When the piece continues, the next chord will be F major, completing the II7 V7 I. 2d7 e. Something to look forward to: In Module 4 (Module 3 is review and test) the II V I will be growing, first as part of a turnaround: I VI II V I (aka the I Got Rhythm Changes ) then into even longer harmonic patterns, including the 12-bar blues pattern, with dozens of harmonic variations! f. Something to listen to: Virtually every jazz standard has a ii V I in it somewhere, but there are a number of pieces 9

10 where it s high density, typically in several keys (as in the section other places in the phrase ). For major key examples listen to Fly Me to the Moon and The End of a Love Affair. A good minor key example is The Shadow of Your Smile. Return to the menu, and try the PLAY/SING and WRITE exercises for Module 2c. 10

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