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In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion.Bruce Benward and Marilyn Nadine Saker, ''Music In Theory and Practice'', seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN 978-0-07-294262-0.The circle progression is commonly a succession through the seven diatonic chords of a diatonic scale, by fifths, including one progression by diminished fifth, returning at the end to the starting chord (in C: between F and B) and one diminished chord (in C: B): I-IV-viio-iii-vi-ii-V-I Shorter common progressions may be derived by selecting certain specific chords from the series completing a circle from the tonic through all seven diatonic chords, such as the primary triads book-ending the progression: I- V-I = I-V-I I-IV- V-I = I-IV-V-I The ii-V-I turnaround lies at the end of the circle progression, as does the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.The circle progression may also contain dominant seventh chords.==I−vi−ii−V==I-vi-ii-V and I−vi−ii−V redirect directly here-->(詳細はii-V-I turnaroundを参照)I−vi−ii−V is a very common "chord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section. I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.In the jazz minor scale the diatonic progression|: C-Δ7 / A-75 | D-7 / G713 :|is possibleArnold, Bruce E. (2001). ''Music Theory Workbook for Guitar: Scale Construction'', p.12. ISBN 978-1-890944-53-7. (I-Δ7—vi-75—ii-7—V713). See: Tadd Dameron turnaround.==See also==*Approach chord*Predominant chord*Dominant (music)*Extended dominant*Ragtime progression
In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion.〔Bruce Benward and Marilyn Nadine Saker, ''Music In Theory and Practice'', seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN 978-0-07-294262-0.〕
The circle progression is commonly a succession through the seven diatonic chords of a diatonic scale, by fifths, including one progression by diminished fifth, returning at the end to the starting chord (in C: between F and B) and one diminished chord (in C: B):
I-IV-viio-iii-vi-ii-V-I
Shorter common progressions may be derived by selecting certain specific chords from the series completing a circle from the tonic through all seven diatonic chords,〔 such as the primary triads book-ending the progression:
I- V-I = I-V-I
I-IV- V-I = I-IV-V-I
The ii-V-I turnaround lies at the end of the circle progression, as does the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.〔
The circle progression may also contain dominant seventh chords.
==I−vi−ii−V==
(詳細はchord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section.〔 I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.
In the jazz minor scale the diatonic progression
|: C-Δ7 / A-75 | D-7 / G713 :|
is possible〔Arnold, Bruce E. (2001). ''Music Theory Workbook for Guitar: Scale Construction'', p.12. ISBN 978-1-890944-53-7.〕 (I-Δ7—vi-75—ii-7—V713).
See: Tadd Dameron turnaround.
==See also==
*Approach chord
*Predominant chord
*Dominant (music)
*Extended dominant
*Ragtime progression
抄文引用元・出典: フリー百科事典『 vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.The circle progression may also contain dominant seventh chords.==I−vi−ii−V==I-vi-ii-V and I−vi−ii−V redirect directly here-->(詳細はii-V-I turnaroundを参照)I−vi−ii−V is a very common "chord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section. I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.In the jazz minor scale the diatonic progression|: C-Δ7 / A-75 | D-7 / G713 :|is possibleArnold, Bruce E. (2001). ''Music Theory Workbook for Guitar: Scale Construction'', p.12. ISBN 978-1-890944-53-7. (I-Δ7—vi-75—ii-7—V713). See: Tadd Dameron turnaround.==See also==*Approach chord*Predominant chord*Dominant (music)*Extended dominant*Ragtime progression">ウィキペディア（Wikipedia）』
■vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.The circle progression may also contain dominant seventh chords.==I−vi−ii−V==I-vi-ii-V and I−vi−ii−V redirect directly here-->(詳細はii-V-I turnaroundを参照)I−vi−ii−V is a very common "chord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section. I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.In the jazz minor scale the diatonic progression|: C-Δ7 / A-75 | D-7 / G713 :|is possibleArnold, Bruce E. (2001). ''Music Theory Workbook for Guitar: Scale Construction'', p.12. ISBN 978-1-890944-53-7. (I-Δ7—vi-75—ii-7—V713). See: Tadd Dameron turnaround.==See also==*Approach chord*Predominant chord*Dominant (music)*Extended dominant*Ragtime progression">ウィキペディアで「In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion.Bruce Benward and Marilyn Nadine Saker, ''Music In Theory and Practice'', seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178. ISBN 978-0-07-294262-0.The circle progression is commonly a succession through the seven diatonic chords of a diatonic scale, by fifths, including one progression by diminished fifth, returning at the end to the starting chord (in C: between F and B) and one diminished chord (in C: B): I-IV-viio-iii-vi-ii-V-I Shorter common progressions may be derived by selecting certain specific chords from the series completing a circle from the tonic through all seven diatonic chords, such as the primary triads book-ending the progression: I- V-I = I-V-I I-IV- V-I = I-IV-V-I The ii-V-I turnaround lies at the end of the circle progression, as does the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.The circle progression may also contain dominant seventh chords.==I−vi−ii−V==I-vi-ii-V and I−vi−ii−V redirect directly here-->(詳細はii-V-I turnaroundを参照)I−vi−ii−V is a very common "chord pattern" in jazz and popular styles of music. It is often used as a turnaround, occurring as the last to two bars of a chorus or section. I−vi−ii−V typically occurs as a two bar pattern in the A section of the rhythm changes.In the jazz minor scale the diatonic progression|: C-Δ7 / A-75 | D-7 / G713 :|is possibleArnold, Bruce E. (2001). ''Music Theory Workbook for Guitar: Scale Construction'', p.12. ISBN 978-1-890944-53-7. (I-Δ7—vi-75—ii-7—V713). See: Tadd Dameron turnaround.==See also==*Approach chord*Predominant chord*Dominant (music)*Extended dominant*Ragtime progression」の詳細全文を読む
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