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In "Fifth House" (based on "Hot House", i.e. "What Is This Thing Called Love") the standard substitution is implied over an ostinato bass pattern with no chordal instrument instructed to play the chord changes. When Coltrane's improvisation superimposes this progression over the ostinato bass, it is easy to hear how he used this concept for his ...
A tritone substitution is the substitution of one dominant seventh chord (possibly altered or extended) with another that is three whole steps (a tritone) from the original chord. In other words, tritone substitution involves replacing V 7 with ♭ II 7[7] (which could also be called ♭ V 7 /V, subV 7, [7] or V 7 / ♭ V [7]).
The rhythm changes is a 32-bar AABA form with each section consisting of eight bars, and four 8-bar sections. [ 9 ] In roman numeral shorthand, the original chords used in the A section are: a 2-bar phrase, I−vi−ii−V (often modified to I–VI–ii–V), played twice, [ 10 ] followed by a 4-bar phrase. In a jazz band, these chord changes ...
Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise ...
Labels. Atlantic. Jesse Albert Stone (November 16, 1901 – April 1, 1999) [1] was an American rhythm and blues musician and songwriter whose influence spanned a wide range of genres. He also used the pseudonyms Charles Calhoun and Chuck Calhoun. His best-known composition as Calhoun was "Shake, Rattle and Roll".
The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements ...
Shuffle Boil. A 32-bar tune in AABA-form, with an unusual bass ostinato. The title is a corruption of "shuffle ball", which is a move commonly used in tap dance. It was first recorded by Gigi Gryce with Monk as a sideman on October 15, 1955, for Gryce's album Nica's Tempo, [25] and later appears on It's Monk's Time.
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
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