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In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression:〔Sokolow, Fred (2002). ''Jazzing It Up'', p.11. ISBN 0-7935-9112-0.〕 |G / Em / |Am / D7 / || may be filled in with approach chords: |G F9 Em Abm |Am D#7 D7 Gb7 || F9 being the half-step to Em, Am being the half-step to Am, D7 being the half-step to D7, and G7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression). An approach chord may also be the chord immediately preceding the target chord such as the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones:〔Felts, Randy (2002). ''Reharmonization Techniques'', p.19. ISBN 0-634-01585-0.〕 ''FA''CE – CE''GB''. Approach chords may thus be a semitone or a fifth or fourth from their target.〔Grove, Dick (1989). ''Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music'', p.139. ISBN 0-88284-484-9.〕 Approach chords create the harmonic space of the modes in jazz rather than secondary dominants.〔Pease, Ted (2003). ''Jazz Composition: Theory and Practice'', p.68. ISBN 0-87639-001-7.〕 ==See also== *Passing chord *Predominant chord *Tritone substitution 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「approach chord」の詳細全文を読む スポンサード リンク
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