Ragtime progression

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<score vorbis="1" lang="lilypond"> { \relative c' { 

  \clef treble 
  \time 4/4
  \key c \major
  <e gis b d>1_\markup { \concat { \translate #'(-3.5 . 0) { "C:  III" \raise #1 \small "7" \hspace #5 "VI" \raise #1 \small "7" \hspace #5.5 "II" \raise #1 \small "7" \hspace #5.5 "V" \raise #1 \small "7" \hspace #6 "I" } } }
<a, e' g! cis> <d fis a c!> < g, d' f! b> \bar "
The ragtime progression (E7-A7-D7-G7-C) often appears in the bridge of jazz standards.[1] The III7-VI7-II7-V7 (or V7/V/V/V–V7/V/V–V7/V–V7) leads back to C major (I) but is itself indefinite in key.

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The ragtime progression[3] is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older.[4] Also typical of parlour music, its use originated in classical music and later spread to American folk music.[5] Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":[6]

It can be represented in Roman numeral analysis as[7][8]

(V7/V/V/V) V7/V/V V7/V V7 I

or[9][10]

(III7) VI7 II7 V7 I

In C major this is

(E7) A7 D7 G7 C

Most commonly found in its four-chord version (including the chord in parentheses). This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi–ii–V7–I (in C: Am–Dm–G7–C).[11][12] {{errorTemplate:Main other|Audio file "Standard progression in C.mid" not found}}Template:Category handler The three-chord version (II–V–I) is "related to the cadential progression IV–V–I...in which the V is tonicized and stabilized by means of II with a raised third."[2]

The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fourths. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic.[6] (major pentatonic on C: C, D, E, G, A) Contrastingly, Averill argues that the progression was used because of the potential it offered for chromatic pitch areas.[13]

Variations include the addition of minor seventh chords before the dominant seventh chords, creating overlapping temporary ii–V–I relationships[14] through ii–V–I substitution:

Bm7Template:PadE7 Em7Template:PadA7 Am7Template:PadD7 Dm7Template:PadG7 C

since Bm7–E7–A is a ii–V–I progression, as is Em7–A7–D and so on. {{errorTemplate:Main other|Audio file "Ragtime progression in C ii-V-I substitution.mid" not found}}Template:Category handler

Script error: No such module "Listen". Examples of the use of the ragtime progression include the chorus of Howard & Emerson's "Hello! Ma Baby" (1899), the traditional "Keep On Truckin' Mama," Robert Johnson's "They're Red Hot" (1936), Arlo Guthrie's "Alice's Restaurant" (1967),[15] Bruce Channel's "Hey! Baby" (1962), Gus Cannon' "Walk Right In" (1929), James P. Johnson's "Charleston" (1923), Ray Henderson's "Five Foot Two, Eyes of Blue" (1925),[12] Rev. Gary Davis's "Salty Dog,"[16] Bernie and Pinkard's "Sweet Georgia Brown" (1925), the "Cujus animam" (mm.9-18) in Rossini's Stabat Mater, the beginning of Liszt's Liebesträume (1850),[6] Bob Carleton's "Ja-Da" (1918),[17] and Sonny Rollins's "Doxy" (1954).[18]

See also

Sources

Template:Reflist

Further reading

  • Averill, Gage (2003). Four Parts, No Waiting, p. 32. Template:ISBN.

Template:Chord progressions

  1. ↑ Boyd, Bill (1997). Jazz Chord Progressions, p.56. Template:ISBN.
  2. ↑ a b Jonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. Template:ISBN.
  3. ↑ Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989).
  4. ↑ van der Merwe, Peter (2005). Roots of the Classical, p.496. Template:ISBN.
  5. ↑ van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, p.321. Oxford: Clarendon Press. Template:ISBN.
  6. ↑ a b c Van der Merwe (2005), p.299.
  7. ↑ Script error: No such module "citation/CS1".
  8. ↑ Script error: No such module "citation/CS1".
  9. ↑ Averill, Gage (2003). Four Parts, No Waiting, p.162. Template:ISBN.
  10. ↑ Weissman, Dick (2005). Blues: The Basics, p.50. Template:ISBN.
  11. ↑ Scott, Richard J. (2003). Chord Progressions for Songwriters, p.428. Template:ISBN.
  12. ↑ a b Davis, Kenneth (2006). The Piano Professor Easy Piano Study, p.105. Template:ISBN. Same quote but gives the progression in E instead of C.
  13. ↑ Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony, p.162. Template:ISBN.
  14. ↑ Boyd (1997), p.60.
  15. ↑ Scott (2003), p.429
  16. ↑ Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. Template:ISBN.
  17. ↑ Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. Template:ISBN. and Weissman, Dick (1085). Basic Chord Progressions: Handy Guide, p.28. Template:ISBN.
  18. ↑ Script error: No such module "citation/CS1".
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