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

[Barryjam]

(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.' ?

 

 

 

[Reezekeys]

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?

[3rdAct]

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

[Morrissey]

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.

[analogika]

Real Book notes the opening chords of "My Funny Valentine" as C-, C-(Maj7), C-7, C-6.

[3rdAct]

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.

 

[ChiefDanG]

Sounds like they are all ripping off "Stairway to Heaven".

[Jazz+]

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

 

[El Lobo]

I call it the walk down from the 1 minor chord. One of my favorite moves. It's in Loan Me A Dime.

[video:youtube]

[Paul Harrison]

I would go with ... Am, AmMaj7, Am7, Am6

 

+1

 

[Dave Ferris]

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

 

That's what I would write and would prefer to see on a chart IF, like you posted, the bass is staying on the pedal point root.

 

However, if the bass is moving down chromatically like - Funny Valentine, Sentimental Mood, How deep is the Ocean, Blue Skies, etc. - Jazz +'s first two examples are correct and how I'd prefer to see it on a chart.

 

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

 

Often in reality played

 

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

 

Although the second chord (transposing back to Am) is of course technically G#+. But seeing E/G# is fine too and to "most players" implies there's a C in the voicing. And usually is easier to recognize as "that pattern" , again for most players.

 

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.' ?

 

Typically I've heard it and would probably refer to it myself as : "the minor moving down chromatically".

 

But again you have to be careful about the bass movement for the bass player. And the duration - is it a beat apiece, two beats per chord, or a bar per chord ? So in that case best to notate it if possible so there's no guessing.

 

 

 

[miden]

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?

[AnotherScott]

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

[El Lobo]

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?

[Dave Ferris]

I don't have any examples off hand that pop to mind but if the second chord is voiced (again in Am) as AmMaj7 as opposed to E/A - again with the C in voicing- it will be less clashy sounding, for lack of a better word.

 

Of course once you get to the Am7 and Am6 , it becomes less an area for dissonance. Typical rock/pop voice leading would be :

 

with E in the soprano:

A, C, E / A

G# , C E / A

G, C E / A

F#, C E /A

 

actually with E in the soprano, the E/A thing in Minor works:

A C E /A

G# B E / A

G C E / A

F# C E / A

 

with C in the soprano :

E A, C /A

E G# C /A

E , G, C / A

E F#, C / A

 

with A starting in the soprano but then the top voice moves down chromatically : ( this is generally used less then the other two)

C E A /A

C E G# /A

C E G/ A

C E F#/ A

 

Again when you are moving chromatically down, it's that first movement that can be the rub if the chord isn't voiced right.

 

And the context -Rock / pop / RnB / Jazz / Jazz or Cabaret standard backing vocalist - can dictate the voicing of the chords and the integration of the bass movement..

 

 

[marczellm]

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/

[MAJUSCULE]

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

 

But... not if the bass player is pedaling the C (or A in the OP).

[Barryjam]

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!

 

 

 

[Docbop]

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.

[El Lobo]

A similar descending line happens in the bridge of Georgia On My Mind as it works its way back to the verse.

[Tom Williams]

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.