A Query About the Book, Building a 12 Key Facility by S. Mooney

[violinoscar]

In the intro to #jazz standard 2 on page 39 - 40 Mr. Mooney explains the first 8 measures of Standard Chord Progression No. 2 as being I VI II V, III VI II V. This looks like the first 8 measures of Rhythm Changes.

Here is where I am stumped: when he gives the complete chord progression in 12 keys the first 8 measures are not at all like the instruction on these measures. Furthermore the rest of the chord progression is quite unlike Rhythm Changes - at least any that I am familiar with.

Can anyone please explain to me what I clearly don't understand. I am starting to think my book has a printing error. I'm sure it is just me.

 

[Malcolm35]

Not sure this will help, but, here goes.

Chord progression do two things, 1) move the verse through the song, for example; rest, tension, climax, and then resolution back to rest and then 2) harmonize the melody line with chords that have (share) some of the same notes found in the active melody.

So---- chord progression can and do change. Cookie cutter progressions like ii V7 I or I IV V7 pop up and are used in thousands of songs.

This may clear up some things:

The I chord is the tonic, tonal center, of the progression. It can go to any chord in the progression. However in going to the I chord it resolves any tension you have built up. Tension is a good thing.

The ii chord is a pre-dominant chord and likes to move to a dominant chord.

The iii chord is the mediant (middle) chord and likes to be used as a move somewhere chord.

The IV chord, like the ii is also a pre-dominant chord and wants to go to a dominant chord.

The V chord is a dominant chord and wants to go to the I tonic chord.

The vi chord like the iii is a move somewhere chord. The iii will normally drag the vi along with it on this movement. The vi chord wants to move to a pre-dominant chord.

The Vii chord is also a dominant chord and wants to move to the tonic I chord, but, is in no hurry to do so. Use it as a sub for the V chord.

Now I've said like to move, any chord in the same key will sound OK with any of the other chords from that same key; they may not always do as outlined above. Nothing in music is 100% all the time. Think of the chord in a progression as having a function to fulfill. V's like to go to the tonic, IV's like to move to a dominant chord, etc.

Hope that helps.

 

[violinoscar]

Thanks but I should have explained myself: I do understand chord theory. In this instance the second progression presented in the book has absolutely nothing to do with the example explanation. It is not even conceivably a modification of the first. I was wondering why the author has done this. I just creates confusion.

 

[GastonD]

Maybe he intentionally gave a few different progressions for the reader/player to then transpose to other keys?

 

[mambo4]

Caveat: don't have the book, just speculating based on the [Invalid or Expired Link Removed] quoted below:

Chapter 4
The I VI II V progression and the secondary dominant chord
The V of V cycle
Applying the use of Secondary Dominant chords
Jazz standard no. 2
​

If I have the section of the book right
based on that summary , I'd say he's not intending to show Rhythm changes in all 12 keys
but the use of secondary dominants (V of V) in all 12 keys.

If you take a I VI II V and start adding secondary dominants to it, it may indeed look "nothing like" Rhythm Changes.

 

[SBassman]

This is a late response, but I went searching to see if there was dialog on these books, and I landed here.
I just started the books, and I think they are well done.

My post is to say - unlike many books out there where you are not going to get commentary from the author, I believe this author would be glad to explain something if you asked. I have corresponded with him, and he is a friendly guy. He also offers Skype which would be cool - working out of the books, and then discussing them on Skype.