Английская Википедия:Approach chord
In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression:[3]
|G / Em / |Am / D7 / ||
may be filled in with approach chords:
|G F9 Em Abm |Am D#7 D7 Gb7 ||
F9 being the half-step to Em, AШаблон:Musicm being the half-step to Am, DШаблон:Music7 being the half-step to D7, and GШаблон:Music7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression).
An approach chord may also be the chord immediately preceding the target chord such as the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones:[4] FACE – CEGB.
Approach chords may thus be a semitone or a fifth or fourth from their target.[5]
Approach chords create the harmonic space of the modes in jazz rather than secondary dominants.[6]
See also
References
Further reading
- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW
- ↑ Boyd, Bill (1997). Jazz Chord Progressions, p.43. Шаблон:ISBN.
- ↑ Fisher, Jody (2000). Jazz Skills: Filling the Gaps for the Serious Guitarist, p.30. Шаблон:ISBN.
- ↑ Sokolow, Fred (2002). Jazzing It Up, p.11. Шаблон:ISBN.
- ↑ Felts, Randy (2002). Reharmonization Techniques, p.19. Шаблон:ISBN.
- ↑ Grove, Dick (1989). Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music, p.139. Шаблон:ISBN.
- ↑ Pease, Ted (2003). Jazz Composition: Theory and Practice, p.68. Шаблон:ISBN.
