Constant structure

In jazz, a constant structure is a chord progression consisting of three or more chords of the same type or quality. Popularized by pianists Bill Evans and Herbie Hancock, the combination of functional and nonfunctional chords provides cohesiveness while producing a free and shifting tonal center.

Constant structure example

For example, the progression Fmaj7–Amaj7–Dmaj7–Gmaj7–C13sus4 contains four major seventh chords (and one thirteenth chord), none of which are diatonic to the key of F major except the first.


{
\override Score.TimeSignature #'stencil = ##f
\relative c {
  \clef bass
  \time 4/4
  <c e a>1_\markup { \concat { \translate #'(-4 . 0) { "C:   vi" \raise #1 \small "6" \hspace #6.5 "ii" \hspace #5 "V" \raise #1 \small "6" \hspace #6.5 "I" } } }
  <d f a> <b d g> <c e g> \bar "|."
} }

In contrast, the vi–ii–V–I or circle progression from classical theory contains four chords of two or three different qualities: major, minor, and possibly a dominant seventh chord; all of which, however, are diatonic to the key. Thus diversity is achieved within a stable and fixed tonal center.

See also

Sources

  1. ^ a b c d Rawlins, Robert (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p.131. ISBN 0-634-08678-2.
  2. ^ Schmeling, Paul (1 June 2001). "Reharmonization with Constant Structure Chords". Berklee Today. Retrieved 25 September 2021.
  3. ^ Andrews, William G; Sclater, Molly (2000). Materials of Western Music Part 1, p. 226. ISBN 1-55122-034-2.

This page was last updated at 2021-11-06 21:03 UTC. Update now. View original page.

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