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The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's " Blues for Alice ".
Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
3 chord above IV (in C, FAD) is a first-inversion II chord. [2] Play ⓘ The ragtime progression [ 3 ] is a chord progression characterized by a chain of secondary dominants following the circle of fifths , named for its popularity in the ragtime genre, despite being much older. [ 4 ]
The following is a list of commonly used chord progressions in music. Code Major: Major: Minor: Minor: ... I–V–vi–IV chord progression in C: 4: ... Eight-bar blues:
For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G 7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G 7 would be represented as V 7 in the key of C major.
8; the chord sequence is that of a basic blues and made up entirely of seventh chords, with a ♭ VI in the turnaround instead of just the usual V chord. In the composition's original key of G this chord is an E ♭ 7. "All Blues" is an example of modal blues in G Mixolydian. [2] [clarification needed] A particularly distinctive feature of the ...
This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". [5] Fischer describes the turnaround as the last two measures of the blues form, or I 7 and V 7, with variations including I 7 –IV 7 –I 7 –V 7. [6]
Jazz chord-playing musicians may also add altered chord tones (e.g., ♯ 11) and added tones. An example of an altered dominant chord in the key of C, built on a G would be to voice the chord as "B–C ♯ –E–F–A ♭"; this would be G 7(♭ 9 ♯ 11).
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