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Minor Passamezzo moderno: I–IV–I–V–I–IV–I–V–I: 3: Major I–V–vi–IV progression: I–V–vi–IV: 4: Major Ragtime progression: III 7 –VI 7 –II 7 –V 7: 5: Major Rhythm changes: I-iv-ii-V / I-I 7-iv-I-V-I / III 7-VI 7-II 7-V 7: 15: Major Romanesca: III–VII–i–V–III–VII–i–V–i: 3: Major Sixteen-bar blues: I ...
For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D minor and E minor. In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added).
From the major key's I–ii–iii–IV–V–vi–vii o progression, the "secondary" (minor) triads ii–iii–vi appear in the relative minor key's corresponding chord progression as i–iv–v (or i–iv–V or i–iv–V7): For example, from C's vi–ii–iii progression Am–Dm–Em, the chord Em is often played as E or E7 in a minor chord ...
The parallel chord (but not the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third down from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third up from the root of the minor chord. Thus, in a major key, where the dominant is a ...
These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.
The tritone substitution is widely used for V7 chords in the popular jazz chord progression "ii-V-I". In the key of C, this progression is "d minor, G7, C Major". With tritone substitution, this progression would become "d minor, D ♭ 7, C Major," which contains chromatic root movement. When performed by the bass player, this chromatic root ...
Also, since all chords are analyzed as having a tonic, subdominant, or dominant function, with, for instance, in C, A minor being considered the tonic parallel (tP) (US relative), the use of minor mode root chord progressions in major such as A ♭-major–B ♭-major–C-major is analyzed as sP–dP–T, the minor subdominant parallel (see ...
Slash notation in 4/4 with a slash on each beat under a i7 iv7-V7 chord progression in B ♭ minor. Slash notation is a form of purposefully vague musical notation which indicates or requires that an accompaniment player or players improvise their own rhythm pattern or comp according to the chord symbol given above the staff.