|
|
|
|
5. | |
C
I
1
|
Dm
ii
m2
|
Am
vi
m6
|
G
V
5
|
| | |
|
|
|
8. Passamezzo moderno | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| C
I
1
| F
IV
4
| G
V
5
| C
I
1
|
| - I–IV–I–V–I–IV–I–V–I | |
|
9. Sixteen-bar blues | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| F
IV
4
| C
I
1
|
| - I–I–I–I–I–I–I–I–IV–IV–I–I–V–IV–I–I | |
|
10. Twelve-bar blues | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| F
IV
4
| C
I
1
|
| - I–I–I–I–IV–IV–I–I–V–IV–I–I | |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30. ii–V–I progression | | | - ii–V–I | |
|
31. | |
Dm
ii
m2
|
G
V
5
|
C
I
1
|
C
I
1
|
| | |
|
|
|
|
|
|
37. | |
F
IV
4
|
C
I
1
|
Am
vi
m6
|
Em
iii
m3
|
| Dark | |
|
|
39. | |
F
IV
4
|
Em
iii
m3
|
Dm
ii
m2
|
C
I
1
|
| | |
|
40. | |
F
IV
4
|
Am
vi
m6
|
G
V
5
|
C
I
1
|
| Pop | |
|
|
|
|
44. V–IV–I turnaround | | | - V–IV–I | |
|
45. | |
F
VI
6
|
C
III
3
|
E
V
5
|
Am
i
m1
|
| | |
|
|
|
|
|
|
|
|
53. | |
Am
i
m1
|
Amaj7
Imaj7
1maj7
|
Am7
i7
m17
|
Am6
i6
m16
|
| | |
|
|
55. Passamezzo antico | |
Am
i
m1
|
G
VII
7
|
Am
i
m1
|
E
V
5
| G
VII
7
| Am
i
m1
| E
V
5
| Am
i
m1
|
| - i–VII–i–V–III–VII–i–V–i | |
|
56. | |
C
I
1
|
G7
V7
57
|
Am7
vi7
m67
|
| | |
|
|
|
59. IV△7–V7–iii7–vi | |
F
IVmaj7
4maj7
|
G7
V7
57
|
Em7
iii7
m37
|
Am
vi
m6
|
| - IV△7–V7–iii7–vi in C | |
|
60. Irregular resolution | | | - V7–III7 (Type I: Two common tones, two note moves by half step motion) | |
|
61. | |
Am
vi
m6
|
Bm7
vii7
m7
|
C
I
1
|
G
V
5
|
| | |
|
|
63. | |
Am
i
m1
|
Amaj7
Imaj7
1maj7
|
Am7
i7
m17
|
E
V
5
|
| | |
|
|
|
|
|
68. I–IV–♭VII–IV | |
C
I
1
|
F
IV
4
|
Ab
bVI
b6
|
F
IV
4
|
| - I–IV–♭VII–IV. | |
|
69. Chromatic descending
5–6 sequence | |
C
I
1
|
G
V
5
|
Bb
bVII
b7
|
F
IV
4
|
| - I–V–♭VII–IV | |
|
70. Coltrane changes | |
C
I
1
| ? 5/b6 |
Ab
bVI
b6
| ? 5/3 | G
V
5
| C
I
1
|
| - Coltrane changes in C: I–V/♭VI ♭VI–V/III III–V I. | |
|
71. Bird changes | |
C
I
1
| ? 7dim | ? 37 | ? 6 | D7
V7/V
27
| ? m5 | ? I7 | ? m4 |
| - I viiø–III7 vi–II7 v–I7, IV7 iv–♭VII7 iii–VI7 ♭iii–♭VI7, ii V7 I–VI7 ii–V | |
|
72. I–♭VII–♭VI–♭VII | |
C
I
1
|
Bb
bVII
b7
|
Ab
bVI
b6
|
Bb
bVII
b7
|
| - I–♭VII–♭VI–♭VII | |
|
73. Backdoor progression
(front door is V7) | | | - ii–♭VII I | |
|
74. ii–V–I with tritone substitution
(♭II7 instead of V7) | | | - ii–♭II–I | |
|
75. ♭III+ as dominant
substitute | | | - ii–♭III+–I | |
|
76. Ragtime progression | | ? 37 | ? 67 |
D7
V7/V
27
|
G7
V7
57
|
| - III7–VI7–II7–V7 | |
|
77. viio7/V–V–I(common in ragtime) | | | - viio7/V–V–I | |
|
78. ♭VII–V7 cadence | | | - ♭VII–V–I | |
|
79. Andalusian cadence | | | - iv–III–♭II–I | |
|
80. Omnibus progression | | | - Omnibus progression. | | |
|
81. Rhythm changes | | | - V/V/V/V–V/V/V–V/V–V–I | | |
|
82. Romanesca | | | - III–VII–i–V–III–VII–i–V–i | | |
|
83. Stomp progression | | | - IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–V7/V/V–V7/V–V7–I7 | | |
|
84. Folia | | | - i–V–i–♭VII–♭III–♭VII–i–V–i–V–i–♭VII–♭III–♭VII–i–V–i | | |
|