The ragtime progression (E7-A7-D7-G7-C) often appears in the bridge of jazz standards.[1] The III7-VI7-II7-V7 (or V7/V/V/V–V7/V/V–V7/V–V7) leads back to C major (I) but is itself indefinite in key.
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] Also typical of parlour music, its use originated in classical music and later spread to American folk music.[5] Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":[6]
Most commonly found in its four-chord version (including the chord in parentheses). This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi–ii–V7–I (in C: Am–Dm–G7–C).[11][12]Playⓘ The three-chord version (II–V–I) is "related to the cadential progression IV–V–I...in which the V is tonicized and stabilized by means of II with a raised third."[2]
The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fourths. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic.[6] (major pentatonic on C: C, D, E, G, A) Contrastingly, Averill argues that the progression was used because of the potential it offered for chromatic pitch areas.[13]
^Boyd, Bill (1997). Jazz Chord Progressions, p.56. ISBN 0-7935-7038-7.
^ a bJonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.
^Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989).
^van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, p.321. Oxford: Clarendon Press. ISBN 0-19-316121-4.
^ a b cVan der Merwe (2005), p.299.
^Warnock, Matthew. "Turnarounds: How to Turn One Chord into Four". Music Theory Lesson. jazzguitar.be. Retrieved February 27, 2012.
^Averill, Gage (2003). Four Parts, No Waiting, p.162. ISBN 978-0-19-511672-4.
^Weissman, Dick (2005). Blues: The Basics, p.50. ISBN 978-0-415-97067-9.
^Scott, Richard J. (2003). Chord Progressions for Songwriters, p.428. ISBN 978-0-595-26384-4.
^ a bDavis, Kenneth (2006). The Piano Professor Easy Piano Study, p.105. ISBN 978-1-4303-0334-3. Same quote but gives the progression in E instead of C.
^Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony, p.162. ISBN 978-0-19-511672-4.
^Boyd (1997), p.60.
^Scott (2003), p.429
^Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. ISBN 978-0-8256-0152-1.
^Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. ISBN 9780634011603. and Weissman, Dick (1085). Basic Chord Progressions: Handy Guide, p.28. ISBN 9780882844008.
^Fox, Charles; McCarthy, Albert (1960). Jazz on record: a critical guide to the first 50 years, 1917-1967. Hanover Books. p. 62.
Further reading
Averill, Gage (2003). Four Parts, No Waiting, p. 32. ISBN 978-0-19-511672-4.