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The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, 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".
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.
Thus, in the simple chord progression I–ii–V–I, which in the key of C major would be the chords C Major–D minor–G Major–C Major, a musician could replace the I chords with "tonic substitutes". The most widely used substitutes are iii and vi (in a Major key), which in this case would be the chords "E minor" and "A minor".
List of musical chords Name Chord on C Sound # of p.c.-Forte # p.c. #s Quality Augmented chord: ... 0 4 7 t 1 x 9 [7] Major Thirteenth flat ninth flat fifth chord [2]
Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major have 4 chords in common: G, Bm, D, Em.
Added tone chord notation is useful with seventh chords to indicate partial extended chords, for example, C 7add 13, which indicates that the 13th is added to the 7th, but without the 9th and 11th. The use of 2, 4, and 6 rather than 9, 11, and 13 indicates that the chord does not include a seventh unless explicitly specified.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]