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  2. Altered chord - Wikipedia

    en.wikipedia.org/wiki/Altered_chord

    The use of chords labeled G 7alt can create challenges in jazz ensembles where more than one chordal instrument are playing chords (e.g., a large band with an electric guitar, piano, vibes, and/or a Hammond organ), because the guitarist might interpret a G 7alt chord as containing a ♭ 9 and ♯ 11, whereas the organ player may interpret the ...

  3. List of chord progressions - Wikipedia

    en.wikipedia.org/wiki/List_of_chord_progressions

    I–V–vi–IV chord progression in C: 4: Major ... DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW. See also.

  4. Chord progression - Wikipedia

    en.wikipedia.org/wiki/Chord_progression

    In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in

  5. Tritone substitution - Wikipedia

    en.wikipedia.org/wiki/Tritone_substitution

    F ♯ 7 may substitute for C 7 because they both have E ♮ and B ♭ /A ♯ and pay due to voice leading considerations. Play ⓘ. A tritone substitution is the substitution of one dominant seventh chord (possibly altered or extended) with another that is three whole steps (a tritone) from the original chord.

  6. Chord substitution - Wikipedia

    en.wikipedia.org/wiki/Chord_substitution

    In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that ...

  7. I–V–vi–IV progression - Wikipedia

    en.wikipedia.org/wiki/I–V–vi–IV_progression

    The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.

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