Speaking of topics! I was wondering why the old "Ice Cream" turnaround, (I VI II V7), has basically been left behind in modern songwriting in terms of the chorus. It's still identifiable in some verses and bridges, but the use of the V of V has almost disappeared. Of course, I could be wrong! Let me know!
Let me revise that...the progression would more appropriately be, I VI7 II7 V7, just for those of you that are sticklers! This was more commonly known in previous eras as the "Ice Cream" or "Around the Horn". A common scheme might invole the follwing;I I7 IV bVdim I VI II V7 It's not that it's not used at all, you still find it in jazz cadences of course, and a few pop references are there, it's just that it's not used as much anymore. Go ahead, I know your just chompin' at the bit to let me have it!!
//Numbers Chart\\ 1 or i|2 or ii|3 or iii|4 or iv|5 or v|6 or vi|7 or vii Notes -- Key of= A |B |C# |D |E |F# |G# Notes -- Key of= B |C# |D# |E |F# |G# |A# Notes -- Key of= C |D |E |F |G |A |B Notes -- Key of= D |E |F# |G |A |B |C# Notes -- Key of= E |F# |G# |A |B |C# |D# Notes -- Key of= F |G |A |Bb |C |D |E Notes -- Key of= G |A |B |C |D |E |F#
//Chord progressions\\ Basic chords in a key 1-4-5
//Chord Construction\\ Notes in a chord -- 1-3-5 Minor chord -- Flat the 3rd Seventh chord -- Add b7th tone Major 7th -- Add 7th tone Sixth chord -- Add 6th tone Aug. chord -- #5th tone Dim. chord -- b5th & b3rd Sus. chord -- Add 4th tone
So an "I VI II V7" is equal to a 1 6 2 5add 7th note/tone or A /F# /B /E7
Somebody correct me where I am wrong...I also thought Dallas would win:)
closest thing to reading music you can get without actually learning how! Can't wander around all yer life trying to figure out who comes after what and why can ya?
You find this progression more in jazz standards or in popular music maybe by Paul Simon or James Taylor, Paul McCartney...
Song writers who are sick of it use substitutions of all kinds as a variation on this progression. So if you don't find it as the good ol' I vi ii V I, then you may hear it in many other variations - and not even know it's a variation on it.
I sometimes use this progression as a starting point and then change it up with variations.
For those with guitars or pianos in hand in C major you play this:
C - Am - Dm - G - C
Substitutions may be:
C - Am - F - G - C
C - Eb - Dm - G - C
C - Eb - Ab - G - C
C - Am - Dm - Bdim. - Em
on and on and on...
I suggest using it as a leaping off point to discover other progressions, that's all. It may or may not make the music sound any better.
Back again:
I just went to work on a tune I'm doing and the first progression is this
yeah, the "you" wasn't referring to anyone in particular. actually i probably should have said "me" as in "I have no idea when I'm hearing substitutions for I vi ii V I. I just know I can use the theory to help me grab a progression i wouldn't normally grab.
By the way, a substitue change is consider so because it shares common tones
So a 'C' chord is made up of the notes C-E-G
An 'Am' chord is made up of the notes A-C-E
They share two common notes 'C and E' so the Am substitues for C.
Anyway we can use that as way to discover substitute chords for the chords we already know. even if you don't know the notes on the guitar, look at the shared frets to discover chords that can be substitue chords for the ones you're already playing. Usually two frets shared is a good sign it can be a substitute to the ear.
But hey, it's theory. Just use it to discover new musical paths for your ear to go.
