Hadamard's dynamical system: Difference between revisions
en>Helpful Pixie Bot m ISBNs (Build KC) |
en>Givenunion link |
||
| Line 1: | Line 1: | ||
{{lowercase}} | |||
[[File:Ii-V-I turnaround in C.png|thumb|300px|ii-V<sup>7</sup>-I progression in C {{audio|Ii-V-I turnaround in C.mid|Play}}]] | |||
[[File:Bach - Well-Tempered Clavier, Book I, Prelude I, opening.png|thumb|300px|[[Johann Sebastian Bach|Bach]] - ''[[The Well-Tempered Clavier|Well-Tempered Clavier]]'', Book I, Prelude I, opening: I-ii<math>{}^4_2</math>-V<math>{}^6_5</math>-I.<ref>Kostka, Stefan, and Dorothy Payne (1995). ''Tonal Harmony, with an Introduction to Twentieth-Century Music'', p.227, third edition. New York: McGraw-Hill. ISBN 0-07-035874-5.</ref> {{audio|Bach - Well-Tempered Clavier, Book I, Prelude I, opening.mid|Play}}]] | |||
[[File:Bach - WTC I, Prelude in D Major ii-V-I.png|thumb|300px|ii-V-I in Bach's WTC I, Prelude in D Major.<ref>[[Oswald Jonas|Jonas, Oswald]] (1982). ''Introduction to the Theory of Heinrich Schenker'', p.26 (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''). Trans. John Rothgeb. ISBN 0-582-28227-6.</ref> {{audio|Bach - WTC I, Prelude in D Major ii-V-I.mid|Play}}]] | |||
The '''ii-V-I turnaround''', '''ii-V-I progression''', or '''ii V I''', also known as the '''dominant cadence''', is a common [[cadence (music)|cadential]] [[chord progression]] used in a wide variety of [[music genre]]s, especially [[jazz harmony]]. It is a succession of [[chord (music)|chords]] whose [[root (chord)|roots]] descend in fifths from the second [[degree (music)|degree]], or [[supertonic]], to the fifth degree, or [[Dominant (music)|dominant]], and finally to the [[Tonic (music)|tonic]]. In a [[major key]], the supertonic (ii) triad is minor, while in a [[minor key]], this triad is [[Diminished triad|diminished]]. The dominant chord is, in its most basic form, a major triad and, commonly, a [[dominant seventh chord]]. With the addition of chord alterations, substitutions, and extensions (most often sevenths), limitless variations exist on this simple formula. | |||
ii-V-I has been used for a hundred years and is currently "a staple of virtually every type of popular music," including jazz, R&B, pop, rock, and country.<ref name="Workman">Workman, Josh. "Chops: II-V-I Survival Tips", ''Guitar Player'' 37:4 (April 2003), p. 90.</ref> Examples include "[[Honeysuckle Rose (song)|Honeysuckle Rose]]" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord,"<ref name="Workman"/> and "[[Satin Doll]]" (1953),<ref>[http://www.jazzstandards.com/compositions-0/satindoll.htm Jazz Standards Songs and Instrumentals (Satin Doll)]</ref> and "[[If I Fell]]".<ref>[http://books.google.com/books?id=dDEMiCQWPb8C&lpg=PA231&dq=beatles%20%22ii%20V%20i%22&pg=PA231#v=onepage&q&f=false|Everett, Walter; ''The Beatles As Musicians: The Quarry Men Through Rubber Soul'', p. 231.]</ref> | |||
== Jazz == | |||
ii-V-I progressions are extremely common in [[jazz]]. They serve two primary functions, which are often intertwined: to temporarily imply passing tonalities, and to lead strongly toward a goal (the "I" chord). One potential situation where ii-V-I progressions can be put to use is in a [[blues]], whose generic form has no such progressions. In this example, a simple 12-bar F blues is shown followed by a similar one with some basic ii-V-I substitutions: | |||
| F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | C7 | Bb7 | F7 | C7 || | |||
| F7 | Bb7 | F7 | Cm F7 | Bb7 | Bb7 | F7 | Am D7 | Gm | C7 | F7 | Gm C7 || | |||
In bar 4, instead of the simple V I root motion in the original blues, the ii chord of the B{{music|flat}}7 (Cm) is included so that the measure is even more directed toward the following downbeat with the B{{music|flat}}7. In bars 8-10, instead of leading back to the tonic with the standard V-IV-I ([[blues cadence]]), a series of applied ii-V-I progressions is used to first lead to Gm, which then itself is reinterpreted as a ii and used to lead back to F7 through its own V, which is C7. In the last bar (the "[[Turnaround (music)|turnaround]]"), the same type of substitution is used as that in bar 4. In practice, musicians will often add extensions to the basic chords shown here, especially 7ths, 9ths, and 13ths, as seen in this example: | |||
iim9 V{{music|sharp}}9{{music|flat}}13 Imaj9 | |||
In jazz, the ii is typically played as a minor 7th chord, and the I is typically played as a major 7th chord (though it can also be played as a major 6th chord). The iim7-V7-Imaj7 progression provides smooth [[voice leading]] between the thirds and sevenths of these chords; the third of one chord becomes the seventh of the next chord, and the seventh of one chord moves down a half-step to become the third of the next chord. For example, in the key of C, the standard jazz ii-V-I progression is Dm7-G7-Cmaj7, and the thirds and sevenths of these chords are F-C, B-F, E-B; inverted for smoother voice leading, these become F-C, F-B, E-B. | |||
The ii is sometimes replaced by the II7, giving it a more dissonant, bluesy feel; this is especially common in turnarounds. Additionally, the ii can be treated like a temporary minor tonic, and preceded by its own "ii-V", extending the basic progression to a iii-VI-ii-V-I; again, this is quite common in turnarounds (with the iii-VI replacing the I in the second-to-last bar; in the example above, the last two bars would change from F7 | Gm-C7 to Am-D7 | Gm-C7). | |||
The ii-V7-I can be further modified by applying a [[tritone substitution]] to the V7 chord, replacing it with the {{music|flat}}II7 chord. This is possible because the {{music|flat}}II7 has the same third and seventh as the V7, but inverted; for example, the third and seventh of G7 are B and F, while the third and seventh of D{{music|flat}}7 are F and C{{music|flat}}, which is [[enharmonic]] to B. Performing this substitution (in this case, changing Dm7-G7-Cmaj7 to Dm7-D{{music|flat}}7-Cmaj7) creates smooth chromatic movement in the chord roots—the root of the ii (D) moves down a half-step to become the root of the {{music|flat}}II7 (D{{music|flat}}), which moves down another half-step to become the root of the I (C). | |||
The tritone substitution, the substitution of {{music|flat}}II7 for V7, and the III-VI-II-V extension can be combined in different permutations to produce many different variations on the same basic progression—e.g. iii7-{{music|flat}}III7-iim7-{{music|flat}}II7-Imaj7-III7-{{music|flat}}III7-II7-{{music|flat}}II7-I7, etc. | |||
[[File:Ii-V-I classical and jazz.png|thumb|center|400px|Four-voice classical, three-voice and four-voice jazz "versions" [voicings] of the ii-V<sup>7</sup>-I progression. The classical example features inversions to emphasize the bass line's independence while the jazz examples feature root progression by fifths and "perfectly smooth voice leading" produced by the 7th of each chord falling a semitone to become the 3rd while the 3rd becomes the 7th of that chord.<ref>Humphries, Carl (2002). The Piano Handbook, p.128. ISBN 0-87930-727-7.</ref> {{Audio|Ii-V-I classical and jazz.mid|Play}}]] | |||
The [[backdoor progression]] can be a [[chord substitution|substitution]] for ii-V-I using iv-{{music|flat}}VII-I.{{citation needed|date=December 2010}} | |||
The ii-V pair is also sometimes used without function (actually i-IV) in place of a minor tonic, to accommodate [[be-bop]] improvisations.<ref>{{Citation | |||
| last = | |||
| first = | |||
| contribution = Harmony | |||
| year = 2007 | |||
| title = The New Grove Dictionary of Jazz | |||
| editor-last = Strunk | |||
| editor-first = Steven | |||
| volume = 2nd Edition | |||
| pages = | |||
| place = | |||
| publisher = Oxford University Press | |||
| id = }}</ref> | |||
== Classical == | |||
[[File:Vi-ii-V-I in C.png|thumb|right|vi-ii-V-I in C<ref name="Materials"/> {{audio|Vi-ii-V-I in C.mid|Play}}.]] | |||
ii-V-I is part of the [[vi-ii-V-I progression]] of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.<ref name="Materials">William G Andrews and Molly Sclater (2000). ''Materials of Western Music Part 1'', p.227. ISBN 1-55122-034-2.</ref> | |||
In the tonal tradition, the ii-V-I progression is most often reserved for [[Cadence (music)|cadences]], and is one of many often used cadential progressions. The ii, V, and I can all appear in [[Inversion (music)|inversion]], although usually without significant alteration beyond the addition of sevenths. One very common implementation of ii-V-I in a classical piece would be this progression, where the ii chord appears in first inversion: | |||
ii<sup>6</sup>-V<sup>7</sup>-I.{{Citation needed|date=December 2010}} | |||
== Minor key == | |||
[[File:Ii-V-I turnaround in C minor.png|thumb|300px|ii-V<sup>7</sup>-I progression in C minor: Dm<sup>7{{music|flat}}5</sup>-G<sup>7</sup>-Cm<ref>Boyd, Bill (1997). ''Jazz Chord Progressions'', p.6. ISBN 0-7935-7038-7.</ref> {{audio|Ii-V-I turnaround in C minor.mid|Play}}.]] | |||
[[File:Ii-V-I turnaround four-voice in C minor.png|thumb|300px|Four-voice ii-V-I turnaround in C minor: Dm<sup>7{{music|flat}}5</sup>-G<sup>{{music|b}}9</sup>-Cm<sup>M7</sup><ref name="Keyboard"/> {{audio|Ii-V-I turnaround four-voice in C minor.mid|Play}}.]] | |||
In minor, a seventh chord built on the supertonic yields a [[half-diminished seventh chord]], which is a very strong [[predominant chord]]. Due to what is considered the harsh nature of root position diminished chords, the ii{{music|halfdim}} chord most often appears in first inversion. | |||
The ii{{music|halfdim}} chord appears in the natural minor scale and may be considered a [[minor seventh chord]] with a [[tritone|flatted fifth]] and is used in the ii-V-I in minor<ref name="Keyboard">Coker, Jerry (1984). ''Jerry Coker's Jazz Keyboard'', p.23. ISBN 0-7692-3323-6.</ref> | |||
== See also == | |||
*[[Approach chord]] | |||
*[[Bird changes]] | |||
*[[Circle progression]] | |||
*[[Side-slipping]] | |||
*[[Tadd Dameron turnaround]] | |||
== Sources == | |||
{{reflist}} | |||
== External links == | |||
{{Cadences}} | |||
{{Chord progressions}} | |||
{{Jazz theory}} | |||
{{DEFAULTSORT:Ii-V-I Turnaround}} | |||
[[Category:Cadences]] | |||
[[Category:Chord progressions]] | |||
[[Category:Circle of fifths]] | |||
Revision as of 01:30, 26 March 2013
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: [http://webhogwarts.altervista.org/members/frederickamord/groups/my-groups/ http://www.hostgator1centcoupon.info/
]
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/
The ii-V-I turnaround, ii-V-I progression, or ii V I, also known as the dominant cadence, is a common cadential chord progression used in a wide variety of music genres, especially jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree, or supertonic, to the fifth degree, or dominant, and finally to the tonic. In a major key, the supertonic (ii) triad is minor, while in a minor key, this triad is diminished. The dominant chord is, in its most basic form, a major triad and, commonly, a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions (most often sevenths), limitless variations exist on this simple formula.
ii-V-I has been used for a hundred years and is currently "a staple of virtually every type of popular music," including jazz, R&B, pop, rock, and country.[3] Examples include "Honeysuckle Rose" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord,"[3] and "Satin Doll" (1953),[4] and "If I Fell".[5]
Jazz
ii-V-I progressions are extremely common in jazz. They serve two primary functions, which are often intertwined: to temporarily imply passing tonalities, and to lead strongly toward a goal (the "I" chord). One potential situation where ii-V-I progressions can be put to use is in a blues, whose generic form has no such progressions. In this example, a simple 12-bar F blues is shown followed by a similar one with some basic ii-V-I substitutions:
| F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | C7 | Bb7 | F7 | C7 || | F7 | Bb7 | F7 | Cm F7 | Bb7 | Bb7 | F7 | Am D7 | Gm | C7 | F7 | Gm C7 ||
In bar 4, instead of the simple V I root motion in the original blues, the ii chord of the BTemplate:Music7 (Cm) is included so that the measure is even more directed toward the following downbeat with the BTemplate:Music7. In bars 8-10, instead of leading back to the tonic with the standard V-IV-I (blues cadence), a series of applied ii-V-I progressions is used to first lead to Gm, which then itself is reinterpreted as a ii and used to lead back to F7 through its own V, which is C7. In the last bar (the "turnaround"), the same type of substitution is used as that in bar 4. In practice, musicians will often add extensions to the basic chords shown here, especially 7ths, 9ths, and 13ths, as seen in this example:
iim9 VTemplate:Music9Template:Music13 Imaj9
In jazz, the ii is typically played as a minor 7th chord, and the I is typically played as a major 7th chord (though it can also be played as a major 6th chord). The iim7-V7-Imaj7 progression provides smooth voice leading between the thirds and sevenths of these chords; the third of one chord becomes the seventh of the next chord, and the seventh of one chord moves down a half-step to become the third of the next chord. For example, in the key of C, the standard jazz ii-V-I progression is Dm7-G7-Cmaj7, and the thirds and sevenths of these chords are F-C, B-F, E-B; inverted for smoother voice leading, these become F-C, F-B, E-B.
The ii is sometimes replaced by the II7, giving it a more dissonant, bluesy feel; this is especially common in turnarounds. Additionally, the ii can be treated like a temporary minor tonic, and preceded by its own "ii-V", extending the basic progression to a iii-VI-ii-V-I; again, this is quite common in turnarounds (with the iii-VI replacing the I in the second-to-last bar; in the example above, the last two bars would change from F7 | Gm-C7 to Am-D7 | Gm-C7).
The ii-V7-I can be further modified by applying a tritone substitution to the V7 chord, replacing it with the Template:MusicII7 chord. This is possible because the Template:MusicII7 has the same third and seventh as the V7, but inverted; for example, the third and seventh of G7 are B and F, while the third and seventh of DTemplate:Music7 are F and CTemplate:Music, which is enharmonic to B. Performing this substitution (in this case, changing Dm7-G7-Cmaj7 to Dm7-DTemplate:Music7-Cmaj7) creates smooth chromatic movement in the chord roots—the root of the ii (D) moves down a half-step to become the root of the Template:MusicII7 (DTemplate:Music), which moves down another half-step to become the root of the I (C).
The tritone substitution, the substitution of Template:MusicII7 for V7, and the III-VI-II-V extension can be combined in different permutations to produce many different variations on the same basic progression—e.g. iii7-Template:MusicIII7-iim7-Template:MusicII7-Imaj7-III7-Template:MusicIII7-II7-Template:MusicII7-I7, etc.
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/
The backdoor progression can be a substitution for ii-V-I using iv-Template:MusicVII-I.Potter or Ceramic Artist Truman Bedell from Rexton, has interests which include ceramics, best property developers in singapore developers in singapore and scrabble. Was especially enthused after visiting Alejandro de Humboldt National Park.
The ii-V pair is also sometimes used without function (actually i-IV) in place of a minor tonic, to accommodate be-bop improvisations.[7]
Classical
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/.
ii-V-I is part of the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.[8]
In the tonal tradition, the ii-V-I progression is most often reserved for cadences, and is one of many often used cadential progressions. The ii, V, and I can all appear in inversion, although usually without significant alteration beyond the addition of sevenths. One very common implementation of ii-V-I in a classical piece would be this progression, where the ii chord appears in first inversion:
ii6-V7-I.Potter or Ceramic Artist Truman Bedell from Rexton, has interests which include ceramics, best property developers in singapore developers in singapore and scrabble. Was especially enthused after visiting Alejandro de Humboldt National Park.
Minor key
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/.
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79
Look into my weblog :: http://www.hostgator1centcoupon.info/.
In minor, a seventh chord built on the supertonic yields a half-diminished seventh chord, which is a very strong predominant chord. Due to what is considered the harsh nature of root position diminished chords, the iiTemplate:Music chord most often appears in first inversion.
The iiTemplate:Music chord appears in the natural minor scale and may be considered a minor seventh chord with a flatted fifth and is used in the ii-V-I in minor[10]
See also
Sources
43 year old Petroleum Engineer Harry from Deep River, usually spends time with hobbies and interests like renting movies, property developers in singapore new condominium and vehicle racing. Constantly enjoys going to destinations like Camino Real de Tierra Adentro.
External links
Template:Cadences Template:Chord progressions Template:Jazz theory
- ↑ Kostka, Stefan, and Dorothy Payne (1995). Tonal Harmony, with an Introduction to Twentieth-Century Music, p.227, third edition. New York: McGraw-Hill. ISBN 0-07-035874-5.
- ↑ Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker, p.26 (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers). Trans. John Rothgeb. ISBN 0-582-28227-6.
- ↑ 3.0 3.1 Workman, Josh. "Chops: II-V-I Survival Tips", Guitar Player 37:4 (April 2003), p. 90.
- ↑ Jazz Standards Songs and Instrumentals (Satin Doll)
- ↑ Walter; The Beatles As Musicians: The Quarry Men Through Rubber Soul, p. 231.
- ↑ Humphries, Carl (2002). The Piano Handbook, p.128. ISBN 0-87930-727-7.
- ↑ Many property agents need to declare for the PIC grant in Singapore. However, not all of them know find out how to do the correct process for getting this PIC scheme from the IRAS. There are a number of steps that you need to do before your software can be approved.
Naturally, you will have to pay a safety deposit and that is usually one month rent for annually of the settlement. That is the place your good religion deposit will likely be taken into account and will kind part or all of your security deposit. Anticipate to have a proportionate amount deducted out of your deposit if something is discovered to be damaged if you move out. It's best to you'll want to test the inventory drawn up by the owner, which can detail all objects in the property and their condition. If you happen to fail to notice any harm not already mentioned within the inventory before transferring in, you danger having to pay for it yourself.
In case you are in search of an actual estate or Singapore property agent on-line, you simply should belief your intuition. It's because you do not know which agent is nice and which agent will not be. Carry out research on several brokers by looking out the internet. As soon as if you end up positive that a selected agent is dependable and reliable, you can choose to utilize his partnerise in finding you a home in Singapore. Most of the time, a property agent is taken into account to be good if he or she locations the contact data on his website. This may mean that the agent does not mind you calling them and asking them any questions relating to new properties in singapore in Singapore. After chatting with them you too can see them in their office after taking an appointment.
Have handed an trade examination i.e Widespread Examination for House Brokers (CEHA) or Actual Property Agency (REA) examination, or equal; Exclusive brokers are extra keen to share listing information thus making certain the widest doable coverage inside the real estate community via Multiple Listings and Networking. Accepting a severe provide is simpler since your agent is totally conscious of all advertising activity related with your property. This reduces your having to check with a number of agents for some other offers. Price control is easily achieved. Paint work in good restore-discuss with your Property Marketing consultant if main works are still to be done. Softening in residential property prices proceed, led by 2.8 per cent decline within the index for Remainder of Central Region
Once you place down the one per cent choice price to carry down a non-public property, it's important to accept its situation as it is whenever you move in – faulty air-con, choked rest room and all. Get round this by asking your agent to incorporate a ultimate inspection clause within the possibility-to-buy letter. HDB flat patrons routinely take pleasure in this security net. "There's a ultimate inspection of the property two days before the completion of all HDB transactions. If the air-con is defective, you can request the seller to repair it," says Kelvin.
15.6.1 As the agent is an intermediary, generally, as soon as the principal and third party are introduced right into a contractual relationship, the agent drops out of the image, subject to any problems with remuneration or indemnification that he could have against the principal, and extra exceptionally, against the third occasion. Generally, agents are entitled to be indemnified for all liabilities reasonably incurred within the execution of the brokers´ authority.
To achieve the very best outcomes, you must be always updated on market situations, including past transaction information and reliable projections. You could review and examine comparable homes that are currently available in the market, especially these which have been sold or not bought up to now six months. You'll be able to see a pattern of such report by clicking here It's essential to defend yourself in opposition to unscrupulous patrons. They are often very skilled in using highly unethical and manipulative techniques to try and lure you into a lure. That you must also protect your self, your loved ones, and personal belongings as you'll be serving many strangers in your home. Sign a listing itemizing of all of the objects provided by the proprietor, together with their situation. HSR Prime Recruiter 2010 - ↑ 8.0 8.1 William G Andrews and Molly Sclater (2000). Materials of Western Music Part 1, p.227. ISBN 1-55122-034-2.
- ↑ Boyd, Bill (1997). Jazz Chord Progressions, p.6. ISBN 0-7935-7038-7.
- ↑ 10.0 10.1 Coker, Jerry (1984). Jerry Coker's Jazz Keyboard, p.23. ISBN 0-7692-3323-6.