- Approach chord
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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, A♭m being the half-step to Am, D♯7 being the half-step to D7, and G♭7 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 dominant (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
Sources
- ^ Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7.
- ^ Fisher, Jody (2000). Jazz Skills: Filling the Gaps for the Serious Guitarist, p.30. ISBN 1929395108.
- ^ Sokolow, Fred (2002). Jazzing It Up, p.11. ISBN 0793591120.
- ^ Felts, Randy (2002). Reharmonization Techniques, p.19. ISBN 0634015850.
- ^ Grove, Dick (1989). Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music, p.139. ISBN 0882844849.
- ^ Pease, Ted (2003). Jazz Composition: Theory and Practice, p.68. ISBN 0876390017.
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