Some examples of alterations are given in Example 3. It happens so frequently that informed listeners can recognize the schema in many formats. The ii–V–I progression is an example of a schema. Put simply, schemas are common patterns our brains can recognize, even when variations are altering a specific presentation of that schema. Schema is a useful concept in music theory, used in many ways within this book ( pop harmony, for one). Prototypical harmonies and voice leadings in ii–V–I progressions, in both major and minor modes. Both of these progressions and a typical voice leading pattern are summarized in Example 2.Įxample 2. When the tune is in minor, the shift in mode changes the quality of the harmonies to ∅7–7–min7 (the V chord is major whether you are in a major or a minor key). When the progression occurs in a major key, as in the snippets in Example 1, the chord qualities of these chords are m7–7–maj7. You can find it reliably at cadences, but also as a building block that occurs throughout a tune. This ii–V–I progression is one of the most important progressions in jazz music. So we have three chords, each related to the next by fifth. But the similarities don’t end there: each PAC is preceded by the ii chord. “ Afternoon in Paris,” “ All the Things You Are,” “ My Funny Valentine,” and “ Joy Spring” all share similar harmonic progressions at their final cadences: ii–V–I.Īll the examples end in perfect authentic cadences (PACs). Look at the harmonies-a pattern should be apparent (you can listen to the tunes through the chapter Spotify playlist linked above). Incomplete ii–V–Is, i.e., ii–Vs, can also be identified because the combination of root motion and quality is so distinctive.Įxample 1 shows final cadences from four jazz tunes.Because this progression is so important to jazz, the concept of applied chords can expand to include applied subdominant chords-i.e., the ii chord.The ii–V–I progression can be identified through a combination of root motion by fifths plus its distinctive sequence of chord qualities ( m7– 7– maj7 in major, or ∅7– 7– m7 in minor).ii 7–V 7–I maj7 in major, or ii ∅7–V 7–i 7 in minor, is a fundamentally important progression in traditional jazz.
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