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What do you call and how do you notate this chord sequence?


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(If I knew the answer I could goggle it)

 

There is a common 4 chord sequence that is far easier to play than to know how to describe it. We"ve heard it in whole or part in hundreds of songs: the intro to Michelle, middle of Oje como va, Janis" version of Summertime, etc. One starts with a (typically minor) chord, then lower the root note chromatically 3 times.

 

Here"s an example:

 

Right hand....

Chord 1: Am

Chord 2: lower A note to Ab

Chord 3: lower Ab to G

Chord 4: lower G to Gb

 

Left hand: usually pedal point stay on A root during all four chords. (Or one could alternate A and E in the bass)

 

With the bass remaining on A, I could see it notated as all extensions of Am, like

Am, AmMaj7, Am7, Am6

 

But does that capture it in a way that is easily read in a lead sheet? Or is this better...

Am, E+/A, C/A, D9/A

 

Both of these chord descriptions seem overly complicated ways to alert a player to play something that is so familiar.

 

Is there a better way to lead sheet this?

Is there a slang or common name for this sequence that studio guys will understand if the MD says 'play the (fill in the blank) sequence here.' ?

 

 

 

Barry

 

Home: Steinway L, Montage 8

 

Gigs: Yamaha CP88, Crumar Mojo 61, A&H SQ5 mixer, ME1 IEM, MiPro 909 IEMs

 

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I would go with #1 - Am, AmMaj7, Am7, Am6

 

But really, it boils down to the reason or purpose for notating it in the first place. Is this for a chart that'll be read only by you on a gig, or a pure academic exercise?

 

While the second example isn't technically "wrong" (though I think there's an argument to be made for it being "less right"), someone sight-reading this on autopilot might be jumping around the keyboard in their voicings. For myself, when I see the first example â Am, AmMaj7, Am7, Am6 â I know exactly what to do before my fingers reach the keyboard. As you say, it's a pretty common progression.

 

Of course, this being a theory thread on KC, I can only imagine all the contrarian viewpoints that will emerge now. Anyone want to take bets on how many pages this thread winds up being? :/

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As one example -- the Sher New Real Book 3 notates the first two measures of In a Sentimental Mood like your first case: Dm Dm(Maj7) Dm7 Dm6

 

I appreciate the "Maj7" being in parentheses. Visually, it cues me that I'm basically still playing the minor chord but just adding the maj7, rather than processing the "DmMaj7" as an entirely new chord. Not a big deal either way, but I prefer the parentheses.

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As one example -- the Sher New Real Book 3 notates the first two measures of In a Sentimental Mood like your first case: Dm Dm(Maj7) Dm7 Dm6

I appreciate the "Maj7" being in parentheses. Visually, it cues me that I'm basically still playing the minor chord but just adding the maj7, rather than processing the "DmMaj7" as an entirely new chord. Not a big deal either way, but I prefer the parentheses.

Same here - it emphasizes that the 7 is "major", not the fundamental chord.

 

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C- C-/B C-/Bb C-/A

 

Often in reality played

 

C- G/B C-/Bb A-7b5

 

I hate cluttered symbols, so I write it as

 

C- /B /Bb /A

 

 Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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But how does a C with a B bass become a G with a B bass? Original is C maj with a B bass, although not necessarily a CMaj7 - which for mine is a different beast. So where.how does it change to a G major?

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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C/B is not C/B if you don't want the person to play the C. Then Em/B would be more accurate.

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Typically, I don't hear the bass staying on the root and not moving with the descending chromatic line. If the bass stays on the 1 note and the keys walk down, it's going to clash and sound at least muddy, if not downright awful. Is there a good example of the bass not moving but the keys do?
These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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I believe they call it a line cliché, I've read that in a Berklee book at least.

http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-chord-progressions/line-cliches/

Life is subtractive.
Genres: Jazz, funk, pop, Christian worship, BebHop
Wishlist: 80s-ish (synth)pop, symph pop, prog rock, fusion, musical theatre
Gear: NS2 + JUNO-G. KingKORG. SP6 at church.

 

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Thanks everyone. Really helpful.

 

In the 'line cliche' definition, a point was made that the 3rd is not among the possible moving notes. To get the tonal qualities that I hear as defining the progression, the chord descriptions that emphasize or lead the player to continue to play the 3rd of the original chord throughout the progression would be best, if not essential. Just my opinion.

 

I suspect that more players/band mates would understand 'descending chromatic line' than 'line cliche' on Am But the 'line cliche' definition educates me, as there are clearly more than one.

 

Leads me to wonder more broadly if there are 'lists' of recurring chord progressions with shorthand names to aid in composition or sharing quickly in rehearsal.

 

Thanks again!

 

 

 

Barry

 

Home: Steinway L, Montage 8

 

Gigs: Yamaha CP88, Crumar Mojo 61, A&H SQ5 mixer, ME1 IEM, MiPro 909 IEMs

 

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It's a very common minor chord movement all about the descending bass. As a guitarist and bass player seeing this on charts its usually all in slash chords so it really easy to see that chromatic bass is what its about. So I would say as long you write it so that descending bass is very clear to see whoever playing chart will know the sound you're after.
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Two slightly snarky replies come to mind:

  • It's a good bet that "My Funny Valentine" did not rip off "Stairway to Heaven" unless time travel was involved.
  • When I have specific notations like this, I find that writing out the notes is the best approach.
     
    http://www.airnetworking.com/Pictures/A.jpg
    Seriously, there's a time for shorthand and abbreviations, and there's a time to just write it out unambiguously.

 

 

-Tom Williams

{First Name} {at} AirNetworking {dot} com

PC4-7, PX-5S, AX-Edge, PC361

 

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