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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:
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 ...
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
Twelve-bar blues: I–I–I–I–IV–IV–I–I–V–IV–I–V: 3: Major I−vi−ii−V: I–vi–ii–V: 4: Major ♭VII–V7 cadence ♭ VII–V –I: 2–3: Mix. V–IV–I turnaround: V–IV–I: 3: Major I– ♭ VII– ♭ VI– ♭ VII: I–♭VII–♭VI–♭VII: 3: Minor IV 7 –V 7 –iii 7 –vi: IV 7 –V 7 –iii 7 –vi in C ...
The root movement of the V−IV−I cadential formula found in the blues is considered nontraditional from the standpoint of Western harmony. [7] The motion of the V−IV−I cadence has been considered "backward," [2] as, in traditional harmony, the subdominant normally prepares for the dominant which then has a strong tendency to resolve to the tonic.
Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]
[12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...
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