128:
106:
84:
638:
939:
450:
644:
827:
483:
131:
109:
87:
634:
420:
396:
375:
354:
443:
1023:
929:
1086:
1081:
436:
127:
105:
83:
1038:
796:
543:
68:
1091:
894:
820:
548:
220:
48:
1076:
1043:
744:
654:
553:
134:
112:
90:
749:
729:
624:
498:
146:
843:
619:
859:
813:
785:
779:
765:
684:
563:
538:
224:
8:
724:
709:
674:
604:
506:
1033:
988:
934:
919:
899:
719:
699:
679:
609:
588:
511:
488:
52:
739:
714:
629:
583:
459:
416:
392:
371:
350:
33:
1050:
909:
704:
573:
530:
60:
41:
1055:
998:
568:
478:
56:
805:
1013:
1003:
946:
914:
864:
734:
473:
228:
37:
1070:
981:
961:
956:
839:
493:
1028:
971:
951:
879:
869:
775:
223:
progressions leading to the IV chord (F in the key of C major), and the
1018:
1008:
993:
976:
924:
854:
694:
904:
884:
649:
428:
64:
966:
770:
232:
614:
67:", Freight Trane written by pianist Tommy Flanagan, and Parker's "
889:
55:
ii–V progressions, and has been used in pieces such as Parker's "
836:
101:
A typical blues progression in jazz, in C, is as follows:
413:
Complete Jazz
Keyboard Method: Intermediate Jazz Keyboard
133:
Audio playback is not supported in your browser. You can
111:
Audio playback is not supported in your browser. You can
89:
Audio playback is not supported in your browser. You can
347:
Jazz and the
Classical Guitar Theory and Applications
368:
Mbgu Jazz
Curriculum: Payin Your Dues with the Blues
835:
123:The Bird Blues progression, in C, is as follows:
79:A simple blues progression, in C, is as follows:
1068:
821:
444:
47:The progression uses a series of sequential
828:
814:
451:
437:
407:
405:
266:ii V
402:
263:ii V
1069:
458:
40:("Bird"), which is a variation of the
809:
432:
13:
325:ii V
211:ii V
71:" also have similar progressions.
14:
1103:
260:ii V
219:This can be viewed as a cycle of
166:v I
381:
360:
339:
183:iii VI
1:
930:Electroacoustic improvisation
163:vi II
309:
269:
241:
130:
108:
86:
74:
7:
322:I VI
10:
1108:
797:List of chord progressions
333:
174:iv
850:
794:
758:
667:
597:
529:
520:
466:
310:
251:
248:
245:
242:
235:to the V chord (G in C).
160:vii III
149:, this is represented by
655:Tadd Dameron turnaround
135:download the audio file
113:download the audio file
91:download the audio file
18:Blues for Alice changes
750:Montgomery-Ward bridge
730:Royal road progression
625:Montgomery-Ward bridge
411:Baerman, Noah (1998).
345:Hatfield, Ken (2005).
208:I VI
147:roman numeral analysis
30:New York Blues changes
695:Borrowed (contrafact)
860:Backdoor progression
786:Irregular resolution
564:Backdoor progression
387:Jacobs, Sid (2011).
225:tritone substitution
36:, often named after
366:Umble, Jay (2011).
1087:Chord substitution
1082:Chord progressions
989:Jazz improvisation
935:Free improvisation
920:Constant structure
900:Chord-scale system
720:Passamezzo moderno
680:Andalusian cadence
610:Andalusian cadence
589:Passamezzo moderno
489:Constant structure
460:Chord progressions
1064:
1063:
895:Call and response
803:
802:
780:Pachelbel's Canon
715:Passamezzo antico
663:
662:
630:Passamezzo antico
584:Sixteen-bar blues
549:V–IV–I turnaround
544:ii–V–I turnaround
329:
328:
215:
214:
139:
117:
95:
34:chord progression
1099:
1092:Jazz terminology
1051:Twelve-bar blues
910:Coltrane changes
830:
823:
816:
807:
806:
735:"Rhythm" changes
705:Coltrane changes
605:'50s progression
574:Twelve-bar blues
558:
557:
527:
526:
502:
453:
446:
439:
430:
429:
424:
409:
400:
385:
379:
364:
358:
343:
291:
290:
279:
278:
240:
239:
196:
195:
190:
189:
179:
178:
154:
153:
61:Toots Thielemans
42:twelve-bar blues
1107:
1106:
1102:
1101:
1100:
1098:
1097:
1096:
1067:
1066:
1065:
1060:
1056:Upper structure
999:Melodic pattern
846:
834:
804:
799:
790:
766:Aeolian harmony
754:
659:
593:
569:Eight-bar blues
555:
554:
522:
516:
501:(Roman-numeral)
500:
462:
457:
427:
410:
403:
386:
382:
365:
361:
344:
340:
336:
288:
287:
276:
275:
229:dominant chords
193:
192:
191:iii
187:
186:
176:
175:
141:
140:
138:
119:
118:
116:
97:
96:
94:
77:
57:Blues for Alice
12:
11:
5:
1105:
1095:
1094:
1089:
1084:
1079:
1077:Charlie Parker
1062:
1061:
1059:
1058:
1053:
1048:
1047:
1046:
1041:
1031:
1026:
1021:
1016:
1014:Rhythm changes
1011:
1006:
1001:
996:
991:
986:
985:
984:
974:
969:
964:
959:
954:
949:
944:
943:
942:
932:
927:
922:
917:
912:
907:
902:
897:
892:
887:
882:
877:
872:
867:
865:Bar-line shift
862:
857:
851:
848:
847:
833:
832:
825:
818:
810:
801:
800:
795:
792:
791:
789:
788:
783:
773:
768:
762:
760:
756:
755:
753:
752:
747:
742:
737:
732:
727:
722:
717:
712:
707:
702:
697:
692:
690:"Bird" changes
687:
682:
677:
671:
669:
665:
664:
661:
660:
658:
657:
652:
647:
642:
632:
627:
622:
617:
612:
607:
601:
599:
595:
594:
592:
591:
586:
581:
578:"Bird" changes
571:
566:
561:
551:
546:
541:
535:
533:
524:
518:
517:
515:
514:
509:
504:
496:
491:
486:
481:
476:
470:
468:
464:
463:
456:
455:
448:
441:
433:
426:
425:
401:
380:
359:
337:
335:
332:
331:
330:
327:
326:
323:
320:
317:
313:
312:
308:
307:
304:
301:
298:
294:
293:
284:
281:
272:
268:
267:
264:
261:
258:
254:
253:
250:
247:
244:
217:
216:
213:
212:
209:
206:
203:
199:
198:
184:
181:
172:
168:
167:
164:
161:
158:
143:
142:
132:
129:
121:
120:
110:
107:
99:
98:
88:
85:
76:
73:
38:Charlie Parker
9:
6:
4:
3:
2:
1104:
1093:
1090:
1088:
1085:
1083:
1080:
1078:
1075:
1074:
1072:
1057:
1054:
1052:
1049:
1045:
1042:
1040:
1037:
1036:
1035:
1032:
1030:
1027:
1025:
1022:
1020:
1017:
1015:
1012:
1010:
1007:
1005:
1002:
1000:
997:
995:
992:
990:
987:
983:
980:
979:
978:
975:
973:
970:
968:
965:
963:
960:
958:
955:
953:
950:
948:
945:
941:
938:
937:
936:
933:
931:
928:
926:
923:
921:
918:
916:
913:
911:
908:
906:
903:
901:
898:
896:
893:
891:
888:
886:
883:
881:
878:
876:
873:
871:
868:
866:
863:
861:
858:
856:
853:
852:
849:
845:
844:improvisation
841:
838:
831:
826:
824:
819:
817:
812:
811:
808:
798:
793:
787:
784:
781:
777:
774:
772:
769:
767:
764:
763:
761:
757:
751:
748:
746:
743:
741:
738:
736:
733:
731:
728:
726:
723:
721:
718:
716:
713:
711:
708:
706:
703:
701:
698:
696:
693:
691:
688:
686:
683:
681:
678:
676:
673:
672:
670:
666:
656:
653:
651:
648:
646:
643:
640:
636:
633:
631:
628:
626:
623:
621:
618:
616:
613:
611:
608:
606:
603:
602:
600:
596:
590:
587:
585:
582:
579:
575:
572:
570:
567:
565:
562:
560:
559:VII–V cadence
552:
550:
547:
545:
542:
540:
537:
536:
534:
532:
528:
525:
519:
513:
510:
508:
507:Rewrite rules
505:
503:
497:
495:
492:
490:
487:
485:
482:
480:
477:
475:
472:
471:
469:
465:
461:
454:
449:
447:
442:
440:
435:
434:
431:
422:
421:0-88284-911-5
418:
414:
408:
406:
398:
397:9781610651684
394:
390:
384:
377:
376:9781610653145
373:
369:
363:
356:
355:0-7866-7236-6
352:
348:
342:
338:
324:
321:
318:
315:
314:
305:
302:
299:
296:
295:
285:
282:
273:
270:
265:
262:
259:
256:
255:
238:
237:
236:
234:
230:
226:
222:
210:
207:
204:
201:
200:
185:
182:
173:
170:
169:
165:
162:
159:
156:
155:
152:
151:
150:
148:
136:
126:
125:
124:
114:
104:
103:
102:
92:
82:
81:
80:
72:
70:
66:
62:
58:
54:
50:
45:
43:
39:
35:
31:
27:
23:
19:
1044:Tadd Dameron
875:Bird changes
874:
745:Tadd-Dameron
689:
577:
494:Double tonic
412:
388:
383:
367:
362:
346:
341:
218:
144:
122:
100:
78:
69:Confirmation
46:
29:
25:
22:Bird changes
21:
17:
15:
1029:Syncopation
972:Jam session
952:Harmolodics
880:Block chord
870:Bebop scale
776:Ground bass
645:IV–V–iii–vi
467:Terminology
389:The Changes
231:leading by
1071:Categories
1034:Turnaround
1009:Polyrhythm
994:Lead sheet
977:Jazz chord
925:Contrafact
855:Avoid note
512:Turnaround
26:Bird Blues
905:Chordioid
885:Blue note
650:Romanesca
635:I–V–vi–IV
620:vi–ii–V–I
523:of chords
521:By number
499:Notation
415:, p. 63.
391:, p. 12.
370:, p. 62.
349:, p.182.
233:half-step
75:Structure
65:Bluesette
53:secondary
967:Jam band
771:Chaconne
685:Backdoor
556:♭
539:I–IV–V–I
289:♭
277:♭
194:♭
188:♭
177:♭
1004:Outside
982:So What
957:Harmony
915:Comping
890:Cadenza
759:Related
725:Ragtime
710:Omnibus
668:By name
576: (
484:Changes
479:Cadence
334:Sources
227:of the
32:, is a
1039:ii-V-I
947:Groove
840:theory
700:Circle
474:Bridge
419:
395:
374:
353:
249:G(m):
1024:Swing
1019:Scale
740:Stomp
615:Folía
531:Three
306:ii V
292:(m):
28:, or
962:Head
940:List
842:and
837:Jazz
639:list
598:Four
417:ISBN
393:ISBN
372:ISBN
351:ISBN
303:ii V
300:ii V
246:Am:
221:ii–V
180:VII
63:'s "
49:ii–V
16:The
675:50s
311:C:
252:F:
243:C:
202:ii
197:VI
171:IV
145:In
59:".
51:or
1073::
404:^
316:ii
283:D:
271:F:
205:V
157:I
44:.
24:,
20:,
829:e
822:t
815:v
782:)
778:(
641:)
637:(
580:)
452:e
445:t
438:v
423:.
399:.
378:.
357:.
319:V
297:I
286:D
280::
274:E
257:I
137:.
115:.
93:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.