|
Turnaround (music)
In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song.Randel, Don Michael (2002). ''The Harvard Concise Dictionary of Music and Musicians''. . p.693 The turnaround may lead back to this section either harmonically, as a chord progression, or melodically. Typical examples Typical turnarounds in jazz include: *I–vi–ii–V ( ii–V–I turnaround, circle progression) *I-VI-ii-V *I–VI–II–V (I–V/ii–V/V–V) *I–iii–ii7–V7 *I–vi–VI711–V * V–IV–I (blues turnaround) *I–III–VI–II7 ( Tadd Dameron turnaround) *iii-VI-ii-V Turnarounds typically begin with the tonic (I) (or a tonic substitute such as iii) and end on the dominant (V7), the next section starting on the tonic (I). They may also end on II7 (which is a dominant substitute). Thus when used in a twelve bar blues pattern, the twelfth bar may end on th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Tadd Dameron Turnaround
In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom",Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. . derived from a typical I−vi−ii−V turnaround through the application of tritone substitution of all but the first chord, thus yielding, in C major: rather than the more conventional: The Tadd Dameron turnaround may feature major seventh chords, and derive from the following series of substitutions, each altering the chord quality:Bahha and Rollins (2005). ''Jazzology'', p.103. .Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.118-19. . The last step, changing to the major seventh chord, is optional. Dameron was the first composer to use the turnaround in his standard " Lady Bird", which contains a modulation down a major third (from C to A). This key relation is also implied by the first and third chord of the turnaround, C∆ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Approach Chord
{{disambiguation ...
Approach may refer to: Aviation *Visual approach *Instrument approach * Final approach Music * ''Approach'' (album), by Von Hertzen Brothers * ''The Approach'', an album by I:Scintilla Other uses *Approach Beach, a gazetted beach in Ting Kau, Hong Kong *Approach shot (other) *Lotus Approach, a database *Bridge approach * Approaches to scientific method *Bowling action in the sport of cricket * Flirting See also *Capability approach, in economic theory *Final approach (other) In aeronautics, the final approach (also called the final leg and final approach leg) is the last leg in an aircraft's approach to landing, when the aircraft is lined up with the runway and Descent (aeronautics), descending for landing.Crane, D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Half Step
A semitone, also called a minor second, half step, or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale (or half of a whole step), visually seen on a keyboard as the distance between two keys that are adjacent to each other. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones). In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Tritone
In music theory, the tritone is defined as a interval (music), musical interval spanning three adjacent Major second, whole tones (six semitones). For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole tones must be a step in the scale (music), scale, so by this definition, within a diatonic scale there is only one tritone for each octave. For instance, the above-mentioned interval F–B is the only tritone formed from the notes of the C major scale. More broadly, a tritone is also commonly defined as any interval with a width of three whole tones (spanning six semitones in the chromatic scale), regardless of scale degrees. According to this definition, a diatonic scale contains two tritones for each octave. For instance, the above-mentioned C major scale contains the tritones F–B (from F to the B above it, also called augment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Tritone Substitution
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo. Though examples of the tritone substitution, known in the classical world as an augmented sixth chord, can be found extensively in classical music since the Renaissance period, they were not heard outside of classical music until they were brought into jazz by musicians such as Dizzy Gillespie and Charlie Parker in the 1940s, as well as Duke Ellington, Art Tatum, Coleman Hawkins, Roy Eldridge and Benny Goodman. The tritone substitution can be performed by exchanging a dominant seventh chord for another dominant seventh chord which is a tritone away from it. For example, in the key of C major one can use D7 instead of G7 (D is a tritone away from G, and G is the dominant of C). Su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Neapolitan Chord
In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered ( flat) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode. The Neapolitan is found far more often in minor keys than in major keys. Although it is sometimes indicated by an "N6" rather than a "II", some analysts prefer the latter because it indicates the relation of this chord to the supertonic. The Neapolitan chord does not fall into the categories of mixture or tonicization. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode. Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. In European Classical music, the Neapolitan most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Secondary Dominant
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. In Roman numeral analysis, they are written with the notation "''function''/''key''". Thus, one of the most common secondary chords, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque peri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Minor Sixth
In music theory, a minor sixth is a musical interval encompassing six staff positions (see Interval number for more details), and is one of two commonly occurring sixths (the other one being the major sixth). It is qualified as ''minor'' because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions, but consist of a different number of semitones (seven and ten respectively). Equal temperament In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents. Just temperament ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Minor Seventh
In music theory, a minor seventh is one of two musical intervals that span seven staff positions. It is ''minor'' because it is the smaller of the two sevenths, spanning ten semitones. The major seventh spans eleven. For example, the interval from A to G is a minor seventh, as the note G lies ten semitones above A, and there are seven staff positions from A to G. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve, respectively). Use Minor seventh intervals rarely feature in melodies (and especially in their openings) but occur more often than major sevenths. A well-known example, in part due to its frequent use in theory classes, is found between the first two words of the phrase "There's a place for us" in the song " Somewhere" in '' West Side Story''. Another well-known example occurs between the first two notes of the introduction to the main theme music from '' Star Trek: The Origi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Seventh Chord
A seventh chord is a chord (music), chord consisting of a triad (music), triad plus a note forming an interval (music), interval of a Interval (music), seventh above the chord's root (chord), root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh. However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords. In its earliest usage, the seventh was introduced solely as an nonchord tone, embellishing or nonchord tone. The seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. As time passed and the collective ear of the western world became more accustomed to Consonance and dissonance, dissonance, the seventh was allowed to become a part of the chord itself, and in some modern music, jazz in particular, . Additionally, the general acceptance of equal temperament during the 19th century reduced the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Twelve Bar Blues
The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire". Background The blues originated from a combination of work songs, spirituals, and early southern country music. The music was passed down through oral tradition. It was first written down by W. C. Handy, an African American composer and band leader. Its popularity led to the creation of " race records" and the popularity of blues singers like Bessie Smith and Ma Rainey. The style of music heard on race records was later called "rhythm and blues" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
