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{{for|the '''I-IV-VII-iii-VI-ii-V-I''' or '''I-vi-ii-V-I''' chord progression|Circle progression}}
 
[[File:Ragtime progression in C.png|thumb|350px|Ragtime progression includes chains of [[secondary dominant]]s {{audio|Ragtime progression in C.mid|Play}}.]]
 
[[File:Jazz standard bridge.png|thumb|right|350px|Progression (E7-A7-D7-G7) {{audio|Jazz standard bridge.mid|Play}} which often appears in the [[bridge (music)|bridge]] of [[jazz standard]]s.<ref>Boyd, Bill (1997). ''Jazz Chord Progressions'', p.56. ISBN 0-7935-7038-7.</ref> The V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7] leads back to C major (I) {{audio|Ragtime progression in C.mid|Play}} but is itself indefinite in key.]]
 
[[File:Ragtime progression voice leading.png|thumb|350px|Ragtime progression's origin in [[voice leading]]: II itself is the product of a 5-6 replacement over IV in IV-V-I. "Such a replacement originates purely in voice-leading, but," the <math>{}^6_3</math> chord above IV (in C: F-A-D) is a first inversion II chord.<ref name="Jonas">[[Oswald Jonas|Jonas, Oswald]] (1982) ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.</ref> {{audio|Ragtime progression voice leading.mid|Play}}]]
 
[[File:VofVofV-VofV-V-I.png|thumb|Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.]]
 
The '''ragtime progression'''<ref>Fahey, John (1970). ''Charley Patton'', p.45. London: Studio Vista. Cited in van der Merwe (1989).</ref> is a [[chord progression]] characterized by a chain of [[secondary dominant]]s, named for its popularity in the [[ragtime]] genre, despite being much older.<ref>Van der Merwe, Peter (2005). ''Roots of the Classical'', p.496. ISBN 978-0-19-816647-4.</ref> Also typical of [[parlour music]], its use originated in [[European classical music|classical music]] and later spread to [[American folk music]].<ref>van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music'', p.321. Oxford: Clarendon Press. ISBN 0-19-316121-4.</ref> Growing, "by a process of gradual accretion. First the [[dominant (music)|dominant chord]] acquired its own dominant...This then acquired ''its'' dominant, which in turn acquired yet another dominant, giving":<ref name="Roots">Van der Merwe (2005), p.299.</ref>
 
{|class="wikitable" style="text-align:left; width:250px;"
|width=20%| III7/{{music|#}}
|width=20%| VI7/{{music|#}}
|width=20%| II7/{{music|#}}
|width=20%| V7
|width=20%| I
|}
Or:<!-- The cited texts all describe "a dominant of a dominant of a dominant of a dominant", the corresponding Roman numeral spelling is as follows: --><ref name="Chain">{{cite web | url=http://www.jazzguitar.be/chord_turnarounds.html | title=Turnarounds: How to Turn One Chord into Four | publisher=jazzguitar.be | work=Music Theory Lesson | accessdate=February 27, 2012 | author=Warnock, Matthew}}</ref><ref name="Levine">{{cite book|title=The jazz theory book|author=[[Mark Levine (musician)|Levine, Mark]]|year=1996|publisher=[[O'Reilly Media]]|isbn=1-883217-04-0|url=http://books.google.com/books?id=iyNQpJ4oaMcC|accessdate=February 27, 2012}}</ref>
{|class="wikitable" style="text-align:left; width:250px;"
|width=20%| (V7/V/V/V)
|width=20%| V7/V/V
|width=20%| V7/V
|width=20%| V7
|width=20%| I
|}
Or:<ref>Averill, Gage (2003). ''Four Parts, No Waiting'', p.162. ISBN 978-0-19-511672-4.</ref><ref>Weissman, Dick (2005). ''Blues: The Basics'', p.50. ISBN 978-0-415-97067-9.</ref>
{|class="wikitable" style="text-align:left; width:250px;"
|width=20%| (III7)
|width=20%| VI7
|width=20%| II7
|width=20%| V7
|width=20%| I
|}
 
In C major this is:
 
{|class="wikitable" style="text-align:left; width:250px;"
|width=20%| (E7)
|width=20%| A7
|width=20%| D7
|width=20%| G7
|width=20%| C
|}
Most commonly found in its four chord version (thus the parentheses). {{audio|Ragtime progression in C four chords.mid|Play}} This may be perceived as a, "harder, bouncier sounding progression," than the [[diatonic]] vi-ii-V7-I, in C: Am-Dm-G7-C.<ref name="Scott">Scott, Richard J. (2003). ''Chord Progressions for Songwriters'', p.428. ISBN 978-0-595-26384-4.</ref><ref name="Davis">Davis, Kenneth (2006). ''The Piano Professor Easy Piano Study'', p.105. ISBN 978-1-4303-0334-3. Same quote but gives the progression in E instead of C.</ref> {{audio|Standard progression in C.mid|Play}} The three chord version (II-V-I) is, "related to the cadential progression [[I-IV-V-I|IV-V-I]]...in which the V is [[tonicization|tonicized]] and stabilized by means of II with a raised [[third (chord)|third]]."<ref name="Jonas"/>
 
The progression is an example of [[centripetal harmony]], harmony which leads to the [[tonic (music)|tonic]] and an example of the [[circle progression]], a progression along the [[circle of fifths]]. Though creating or featuring [[chromaticism]], the [[bass note|bass]] (if the [[root (chord)|roots]] of the chords), and often the [[melody]], are [[pentatonic scale|pentatonic]].<ref name="Roots"/> (Major pentatonic on C: CDEGA) Contrastingly, Averill argues that the progression was used because of the potential if offered for chromatic pitch areas.<ref>Averill, Gage (2003). ''Four Parts, No Waiting: A Social History of American Barbershop Harmony'', p.162. ISBN 978-0-19-511672-4.</ref>  
 
Variations include the addition of [[minor seventh chord]]s before the [[dominant seventh chord]]s, creating overlapping temporary [[ii-V-I turnaround|ii-V-I]] relationships<ref>Boyd (1997), p.60.</ref> through ii-V-I [[chord substitution|substitution]]:
{|class="wikitable" style="text-align:left; width:300px;"
|width=20%| Bm7-E7
|width=20%| Em7-A7
|width=20%| Am7-D7
|width=20%| Dm7-G7
|width=20%| C
|}
since '''Bm7-E7-A''' is a '''ii-V-I''' progression, as is '''Em7-A7-D''' and so on. {{audio|Ragtime progression in C ii-V-I substitution.mid|Play}}
 
{{listen|filename=Franz Liszt - Liebestraum, Ab Major.ogg|title=Liebestraum No. 3|description=|description=Performed by [[Martha Goldstein]] on an 1851 Erard piano|format=[[ogg]]}}
Examples of the use of the ragtime progression include the chorus of [[Joseph E. Howard|Howard]] & [[Ida Emerson|Emerson]]'s "[[Hello! Ma Baby]]" (1899), the traditional "Keep On Truckin' Mama", [[Robert Johnson]]'s "[[They're Red Hot]]" (1936), [[Arlo Guthrie]]'s "[[Alice's Restaurant]]" (1967),<ref>Scott (2003), p.429</ref> [[Bruce Channel]]'s "[[Hey! Baby]]" (1962), [[The Rooftop Singers]]' "[[Walk Right In]]" (1963), [[James P. Johnson]]'s "[[Charleston (song)|Charleston]]" (1923), [[Ray Henderson]]'s "[[Has Anybody Seen My Gal? (song)|Five Foot Two, Eyes of Blue]]" (1925),<ref name="Davis"/> [[Reverend Gary Davis|Rev. Gary Davis]]'s "[[Salty Dog Blues|Salty Dog]]",<ref>Grossman, Stefan (1998). ''Rev. Gary Davis/Blues Guitar'', p.71. ISBN 978-0-8256-0152-1.</ref>  [[Ben Bernie|Bernie]] and [[Maceo Pinkard|Pinkard]]'s "[[Sweet Georgia Brown]]" (1925), the "Cujus animam" (mm.9-18) in [[Gioachino Rossini|Rossini]]'s ''[[Stabat Mater (Rossini)|Stabat Mater]]'', the beginning of [[Franz Liszt|Liszt]]'s ''[[Liebesträume]]'' (1850),<ref name="Roots"/> [[Bob Carleton]]'s "[[Ja-Da]]" (1918),<ref>Weissman, Dick (2001). ''Songwriting: The Words, the Music and the Money'', p.59. ISBN 9780634011603. and Weissman, Dick (1085). ''Basic Chord Progressions: Handy Guide'', p.28. ISBN 9780882844008.</ref> and [[Sonny Rollins]]'s "[[Doxy (song)|Doxy]]" (1954).<ref>{{cite book|last1=Fox|first1=Charles|last2=McCarthy|first2=Albert|title=Jazz on record: a critical guide to the first 50 years, 1917-1967|year=1960|publisher=Hanover Books|page=62}}</ref>
 
==See also==
*[[Diatonic function]]
*[[Extended dominant]]
*[[Rhythm changes]]
 
==Sources==
{{reflist}}
 
==Further reading==
*Averill, Gage (2003). ''Four Parts, No Waiting'', p.&nbsp;32. ISBN 978-0-19-511672-4.
 
==External links==
* [http://www.angelfire.com/fl4/moneychords/ragtime.html ''MoneyChords'': "Ragtime Progressions"] History
 
{{Chord progressions}}
 
[[Category:Chord progressions]]
[[Category:Ragtime]]

Revision as of 08:42, 18 June 2013

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Ragtime progression includes chains of secondary dominants My name: Lindsey Gavin
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Progression (E7-A7-D7-G7) My name: Lindsey Gavin
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Look into my weblog :: http://www.hostgator1centcoupon.info/ which often appears in the bridge of jazz standards.[1] The V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7] leads back to C major (I) My name: Lindsey Gavin
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Ragtime progression's origin in voice leading: II itself is the product of a 5-6 replacement over IV in IV-V-I. "Such a replacement originates purely in voice-leading, but," the chord above IV (in C: F-A-D) is a first inversion II chord.[2] My name: Lindsey Gavin
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]

Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.

The ragtime progression[3] is a chord progression characterized by a chain of secondary dominants, named for its popularity in the ragtime genre, despite being much older.[4] Also typical of parlour music, its use originated in classical music and later spread to American folk music.[5] Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":[6]

III7/Template:Music VI7/Template:Music II7/Template:Music V7 I

Or:[7][8]

(V7/V/V/V) V7/V/V V7/V V7 I

Or:[9][10]

(III7) VI7 II7 V7 I

In C major this is:

(E7) A7 D7 G7 C

Most commonly found in its four chord version (thus the parentheses). My name: Lindsey Gavin
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Look into my weblog :: http://www.hostgator1centcoupon.info/ This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi-ii-V7-I, in C: Am-Dm-G7-C.[11][12] My name: Lindsey Gavin
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Look into my weblog :: http://www.hostgator1centcoupon.info/ The three chord version (II-V-I) is, "related to the cadential progression IV-V-I...in which the V is tonicized and stabilized by means of II with a raised third."[2]

The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fifths. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic.[6] (Major pentatonic on C: CDEGA) Contrastingly, Averill argues that the progression was used because of the potential if offered for chromatic pitch areas.[13]

Variations include the addition of minor seventh chords before the dominant seventh chords, creating overlapping temporary ii-V-I relationships[14] through ii-V-I substitution:

Bm7-E7 Em7-A7 Am7-D7 Dm7-G7 C

since Bm7-E7-A is a ii-V-I progression, as is Em7-A7-D and so on. My name: Lindsey Gavin
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Look at my blog; Hostgator 1 Cent Coupon Examples of the use of the ragtime progression include the chorus of Howard & Emerson's "Hello! Ma Baby" (1899), the traditional "Keep On Truckin' Mama", Robert Johnson's "They're Red Hot" (1936), Arlo Guthrie's "Alice's Restaurant" (1967),[15] Bruce Channel's "Hey! Baby" (1962), The Rooftop Singers' "Walk Right In" (1963), James P. Johnson's "Charleston" (1923), Ray Henderson's "Five Foot Two, Eyes of Blue" (1925),[12] Rev. Gary Davis's "Salty Dog",[16] Bernie and Pinkard's "Sweet Georgia Brown" (1925), the "Cujus animam" (mm.9-18) in Rossini's Stabat Mater, the beginning of Liszt's Liebesträume (1850),[6] Bob Carleton's "Ja-Da" (1918),[17] and Sonny Rollins's "Doxy" (1954).[18]

See also

Sources

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Further reading

  • Averill, Gage (2003). Four Parts, No Waiting, p. 32. ISBN 978-0-19-511672-4.

External links

Template:Chord progressions

  1. ↑ Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7.
  2. ↑ 2.0 2.1 Jonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.
  3. ↑ Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989).
  4. ↑ Van der Merwe, Peter (2005). Roots of the Classical, p.496. ISBN 978-0-19-816647-4.
  5. ↑ van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, p.321. Oxford: Clarendon Press. ISBN 0-19-316121-4.
  6. ↑ 6.0 6.1 6.2 Van der Merwe (2005), p.299.
  7. ↑ Template:Cite web
  8. ↑ 20 year-old Real Estate Agent Rusty from Saint-Paul, has hobbies and interests which includes monopoly, property developers in singapore and poker. Will soon undertake a contiki trip that may include going to the Lower Valley of the Omo.

    My blog: http://www.primaboinca.com/view_profile.php?userid=5889534
  9. ↑ Averill, Gage (2003). Four Parts, No Waiting, p.162. ISBN 978-0-19-511672-4.
  10. ↑ Weissman, Dick (2005). Blues: The Basics, p.50. ISBN 978-0-415-97067-9.
  11. ↑ Scott, Richard J. (2003). Chord Progressions for Songwriters, p.428. ISBN 978-0-595-26384-4.
  12. ↑ 12.0 12.1 Davis, Kenneth (2006). The Piano Professor Easy Piano Study, p.105. ISBN 978-1-4303-0334-3. Same quote but gives the progression in E instead of C.
  13. ↑ Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony, p.162. ISBN 978-0-19-511672-4.
  14. ↑ Boyd (1997), p.60.
  15. ↑ Scott (2003), p.429
  16. ↑ Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. ISBN 978-0-8256-0152-1.
  17. ↑ Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. ISBN 9780634011603. and Weissman, Dick (1085). Basic Chord Progressions: Handy Guide, p.28. ISBN 9780882844008.
  18. ↑ 20 year-old Real Estate Agent Rusty from Saint-Paul, has hobbies and interests which includes monopoly, property developers in singapore and poker. Will soon undertake a contiki trip that may include going to the Lower Valley of the Omo.

    My blog: http://www.primaboinca.com/view_profile.php?userid=5889534
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