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Blues standards are blues songs that have attained a high level of recognition due to having been widely performed and recorded. [ 1] They represent the best known and most interpreted blues songs that are seen as standing the test of time. [ 2] Blues standards come from different eras and styles, such as ragtime - vaudeville, Delta and other ...
Chord-scale system. Heptatonic scale. Jazz scale. List of chord progressions. List of chords. List of musical intervals. List of pitch intervals. Arabian maqam. Modes of limited transposition.
vi–IV–I–V chord progression in C Play ⓘ. The I–V–vi–IV progression is a common chord progression popular across several genres of music. It uses the I, V, vi, and IV chords of a musical scale. For example, in the key of C major, this progression would be C–G–Am–F. [ 1] Rotations include: I–V–vi–IV : C–G–Am–F. V ...
Altered scale. In jazz, the altered scale, altered dominant scale, or Super Locrian scale ( Locrian ♭4 scale) is a seven-note scale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and ...
The white-note major and minor pentatonic scales. Two pentatonic scales common to jazz are the major pentatonic scale and the minor pentatonic scale. They are both modes of one another. The major pentatonic scale begins with a major scale and omits the fourth and the seventh scale degrees.
Along with other improvisers, such as saxes and piano players, bebop-era jazz guitarists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios. [9] Jazz guitar players tend to improvise around chord/scale relationships, rather than reworking the melody, possibly due to their familiarity ...
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz [citation needed], although it may be found in other types of music as well. It may be derived from the major scale with a minor third, [ 1 ...
On the Waterfront, for Voice and Piano (1954) Get Hep!, Marching Song written for the Tercentary of Michigan State College for Voice and Piano (1955) So Pretty, for Voice and Piano (1968) Haiku Souvenirs, five songs for voice and piano; Vayomer Elohim, for Voice and Piano (1974) My New Friends, for Voice and Piano (1979)