Jazz harmony in the context of "Ii–V–I progression"

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⭐ Core Definition: Jazz harmony

Jazz harmony is the theory and practice of how chords are used in jazz music. While jazz bears certain similarities to other practices in the tradition of Western harmony, such as many chord progressions and the incorporation of the major and minor scales as a basis for chordal construction, other characteristics such as modality, syntax and phrase structure separate it from Western tradition. In jazz, chords are often arranged vertically in major or minor thirds, although stacked fourths are also quite common. Also, jazz music tends to favor certain harmonic progressions and includes the addition of tensions, intervals such as 9ths, 11ths, and 13ths to chords. Additionally, scales unique to style are used as the basis of many harmonic elements found in jazz. Jazz harmony is notable for the use of seventh chords as the basic harmonic unit more often than triads, as in classical music. In the words of Robert Rawlins and Nor Eddine Bahha, "7th chords provide the building blocks of jazz harmony."

The piano and guitar are the two instruments that typically provide harmony for a jazz group. Players of these instruments deal with harmony in a real-time, flowing improvisational context as a matter of course. This is one of the greatest challenges in jazz.

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👉 Jazz harmony in the context of Ii–V–I progression

The ii–V–I progression ("two–five–one", occasionally referred to as the ii–V–I turnaround) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree (supertonic) to the fifth degree (dominant), and finally to the tonic. In a major key, the supertonic triad (ii) is minor, and in a minor key it is diminished. The dominant is, in its normal form, a major triad and commonly a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions, limitless variations exist on this simple formula.

The ii–V–I progression is "a staple of virtually every type of [Western] popular music", including jazz, R&B, pop, rock, and country. Examples include "Honeysuckle Rose" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord," "Satin Doll" (1953), and "If I Fell".

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Jazz harmony in the context of Comping (jazz)

In jazz, comping (an abbreviation of accompaniment; or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that bassists, keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines. It is also the action of accompanying, and the left-hand part of a solo pianist.

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Jazz harmony in the context of Jazz chord

Jazz chords are chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony. In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. For example, if a tune is in the key of C, if there is a G chord, the chord-playing performer usually voices this chord as G. While the notes of a G chord are G–B–D–F, jazz often omits the fifth of the chord—and even the root if playing in a group. However, not all jazz pianists leave out the root when they play voicings: Bud Powell, one of the best-known of the bebop pianists, and Horace Silver, whose quintet included many of jazz's biggest names from the 1950s to the 1970s, included the root note in their voicings.

Improvising chord-playing musicians who omit the root and fifth are given the option to play other notes. For example, if a seventh chord, such as G, appears in a lead sheet or fake book, many chord-playing performers add the ninth, thirteenth or other notes to the chord, even though the lead sheet does not specify these additional notes. Jazz players can add these additional, upper notes because they can create an important part of the jazz sound. Lead sheets and fake books often do not detail how to voice the chord because a lead sheet or fake book is only intended to provide basic guide to the harmony. An experienced comping performer playing electric guitar or piano may add or remove notes as chosen according to the style and desired sound of that musician, but must do so in a way that still emphasizes the correct musical context for other musicians and listeners.

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