The compositional technique of applied chords capitalizes on the relationship between quality and function by taking dominant chords out of their key, and dropping them into a new key. Fully-diminished chords also have dominant function. This is most obvious in the case of the dominant seventh quality, which shares a namesake with dominant function: the dominant chord. Applied ii–VsĪn important marker of dominant-function chords is the chord’s quality. The ii–V–I is still recognizable, even if alterations occur. The V chord is altered in “ A Night in Tunisia,” but this time, the fifth is lowered instead of raised.
In “ Prelude to a Kiss,” the typically dominant-quality V chord is replaced with an augmented chord (the minor 7th is preserved). In “ Misty,” the maj 7 chord is replaced with a 6 chord (this occurred in “ My Funny Valentine” in Example 2 also). Some examples of alterations are given in Example 3. It happens so frequently that informed listeners can recognize the schema in many formats. The ii–V–I progression is an example of a schema. Put simply, schemas are common patterns our brains can recognize, even when variations are altering a specific presentation of that schema. Schema is a useful concept in music theory, used in many ways within this book ( pop harmony, for one). Prototypical harmonies and voice leadings in ii–V–I progressions, in both major and minor modes. Both of these progressions and a typical voice leading pattern are summarized in Example 2.Įxample 2. When the tune is in minor, the shift in mode changes the quality of the harmonies to ø7–7–min7 (the V chord is major whether you are in a major or a minor key). When the progression occurs in a major key, as in the snippets in Example 1, the chord qualities of these chords are m7–7–maj7. You can find it reliably at cadences, but also as a building block that occurs throughout a tune. This ii–V–I progression is one of the most important progressions in jazz music. So we have three chords, each related to the next by fifth. But the similarities don’t end there: each PAC is preceded by the ii chord. “ Afternoon in Paris,” “ All the Things You Are,” “ My Funny Valentine,” and “ Joy Spring” all share similar harmonic progressions at their final cadences: ii–V–I.Īll the examples end in perfect authentic cadences (PACs). Look at the harmonies-a pattern should be apparent (you can listen to the tunes through the chapter Spotify playlist linked above).
#JOYSPRING ANALYSIS PLUS#
The ii–V–I progression can be identified through a combination of root motion by fifths plus its distinctive sequence of chord qualities ( m7– 7– maj7 in major, or ø7– 7– m7 in minor).ii 7–V 7–I maj7 in major, or ii ø7–V 7–i 7 in minor, is a fundamentally important progression in traditional jazz.
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