Approach chord: Difference between revisions
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In music, the '''approach chord''' is the chord one half-step higher or lower than the goal, especially in the context of turnarounds and [[circle of fifths|cycl |
GoingBatty (talk | contribs) m -, typo(s) fixed: Abm → A♭m (2), D#7 → D♯7 |
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{{Short description|Type of musical chord}} |
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| ⚫ | In [[music]], |
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[[File:I-vi-ii-V turnaround in G.png|thumb|300px|[[I-vi-ii-V turnaround]] in G<ref name="Boyd 43">Boyd, Bill (1997). ''Jazz Chord Progressions'', p.43. {{ISBN|0-7935-7038-7}}.</ref> {{audio|I-vi-ii-V turnaround in G.mid|Play}}.]] |
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[[File:Approach chords in G.png|thumb|300px|I-vi-ii-V turnaround with approach chords in G {{audio|Approach chords in G.mid|Play}}.]] |
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[[File:Turnaround in F.png|thumb|right|300px|I-vi-ii-V turnaround in F {{audio|Turnaround in F.mid|Play}}.]] |
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[[File:Approach chords in F.png|thumb|right|300px|Approach chords in F {{audio|Approach chords in F.mid|Play}}.<ref>Fisher, Jody (2000). ''Jazz Skills: Filling the Gaps for the Serious Guitarist'', p.30. {{ISBN|1-929395-10-8}}.</ref>]] |
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| ⚫ | In [[music]], an '''approach chord''' (also '''chromatic approach chord''' and '''dominant approach chord''') is a [[chord (music)|chord]] one [[semitone|half-step]] higher or lower than the goal, especially in the context of [[Turnaround (music)|turnarounds]] and [[circle of fifths|cycle-of-fourths]] progressions, for example the two bar [[50s progression]]:<ref>Sokolow, Fred (2002). ''Jazzing It Up'', p.11. {{ISBN|0-7935-9112-0}}.</ref> |
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<!--"b" is used rather than "{{music|b}}" in the indented examples below to allow equal spacing, in the article body use the music template per [[Wikipedia:Manual of Style (music)#Accidentals]]--> |
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may be filled in with approach chords: |
may be filled in with approach chords: |
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|G F9 Em |
|G [[ninth chord|F9]] Em A♭m |Am D♯7 D7 G♭7 || |
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F9 being the half-step to Em, A{{music|b}}m being the half-step to Am, D{{music|#}}7 being the half-step to D7, and G{{music|b}}7 being the half-step to G. |
F9 being the half-step to Em, A{{music|b}}m being the half-step to Am, D{{music|#}}7 being the half-step to D7, and G{{music|b}}7 being the half-step to G. G being [[tonic (music)|I]], Em being [[submediant|vi]], Am being [[supertonic|ii]], and D7 being [[dominant seventh chord|V7]] (see [[ii-V-I turnaround]] and [[circle progression]]). |
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An approach chord may also be the chord immediately preceding the target chord such as the [[subdominant chord|subdominant]] (F[[major seventh chord|Maj7]]) preceding the [[tonic (music)|tonic]] (CMaj7) creating a [[strong cadence]] through the contrast of no more than two [[common tone (chord)|common tones]]:<ref>Felts, Randy (2002). ''Reharmonization Techniques'', p.19. {{ISBN|0-634-01585-0}}.</ref> '''''FA'''''CE – CE'''''GB'''''. |
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See also: [[passing chord]]. |
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Approach chords may thus be a semitone or a [[perfect fifth|fifth]] or [[perfect fourth|fourth]] from their target.<ref>Grove, Dick (1989). ''Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music'', p.139. {{ISBN|0-88284-484-9}}.</ref> |
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==Sources== |
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Approach chords create the [[harmony|harmonic space]] of the [[mode (music)|modes]] in [[jazz]] rather than [[secondary dominant]]s.<ref>Pease, Ted (2003). ''Jazz Composition: Theory and Practice'', p.68. {{ISBN|0-87639-001-7}}.</ref> |
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==See also== |
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*[[Passing chord]] |
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*[[Predominant chord]] |
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*[[Tritone substitution]] |
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==References== |
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{{reflist}} |
{{reflist}} |
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==Further reading== |
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{{music-theory-stub}} |
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* R., Ken (2012). ''DOG EAR Tritone Substitution for Jazz Guitar'', Amazon Digital Services, Inc., ASIN: B008FRWNIW |
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{{Chords}} |
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[[Category:Chords]] |
[[Category:Chords]] |
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Latest revision as of 17:05, 13 February 2024
In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression:[3]
|G / Em / |Am / D7 / ||
may be filled in with approach chords:
|G F9 Em A♭m |Am D♯7 D7 G♭7 ||
F9 being the half-step to Em, A♭m being the half-step to Am, D♯7 being the half-step to D7, and G♭7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression).
An approach chord may also be the chord immediately preceding the target chord such as the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones:[4] FACE – CEGB.
Approach chords may thus be a semitone or a fifth or fourth from their target.[5]
Approach chords create the harmonic space of the modes in jazz rather than secondary dominants.[6]
See also
[edit]References
[edit]- ^ Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7.
- ^ Fisher, Jody (2000). Jazz Skills: Filling the Gaps for the Serious Guitarist, p.30. ISBN 1-929395-10-8.
- ^ Sokolow, Fred (2002). Jazzing It Up, p.11. ISBN 0-7935-9112-0.
- ^ Felts, Randy (2002). Reharmonization Techniques, p.19. ISBN 0-634-01585-0.
- ^ Grove, Dick (1989). Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music, p.139. ISBN 0-88284-484-9.
- ^ Pease, Ted (2003). Jazz Composition: Theory and Practice, p.68. ISBN 0-87639-001-7.
Further reading
[edit]- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW
