217 quiz Flashcards

1
Q

popular ways to get from 1 to 4

A

I IV, I V/IV IV, I III(7) IV

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2
Q

simplest blues progression

A

I, IV, I, V, I

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3
Q

chromatic linear techniques

A

5-#5-6-b7
■ 5-#5-6-#5
■ 8-7-b7-6
■ 8-7-b7-6-b6-5

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4
Q

Ways to get to I from 4

A

IV iv I, IV #IV0 I, IV bVII I

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5
Q

popular harmony

A

V/V ii V Extended circle of 4th’ sequences

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6
Q

segment specific blues variations

A

Segment 1:
š Quick to IV or Quick Change: Adding or substituting a IV or IV7 chord in the 2nd measure. Major mode.
o Blue Monk – Thelonius Monk
o Roll Over Beethoven – Beatles
o Sandu – Clifford Brown
o Something Like Olivia – John Mayer
š Segment 2:
š V/ii: When using the ii7-V7 turnaround in major, tonicizing the ii7 chord in bar 8. Major mode.
š Billie’s Bounce – Charlie Parker
š #IVdim7: Substituting #IVdim7 chord in bar 6. Major mode.
šNow’s The Time – Charlie Parker
š “Frankie & Johnny”: Substituting a IV in bar 7. Major mode.
o Frankie & Johnny – multiple artists
o The Boll Weevil – Woody Guthrie
o Stackolee – Mississippi John Hurt

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7
Q

segment 3 harmonic blues variations

A

V-IV (major mode) and V-iv (minor mode): More prevalent in rock and blues. Both can be triadic or dominant
seventh chords. Sometimes called the “blues turn around” or “softened cadence.”
o Pride and Joy – Stevie Ray Vaughn
o Sweet Home Chicago – Robert Johnson
š ii7-V7 (major mode) and iimin7(b5)-V7 (minor mode): More prevalent in jazz.
o Tenor Madness – Sonny Rollins
š bVI7-V7: Used in both jazz and rock. Most prevalent in a minor blues.
o Long Train Running – Doobie Brothers

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