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| {{for|the '''I-IV-VII-iii-VI-ii-V-I''' or '''I-vi-ii-V-I''' chord progression|Circle progression}}
| | 37 year-old Microbiologist Kimrey from Port McNicoll, really likes cryptography, diet and greeting card collecting. Enjoys travel and ended up stimulated after going to Lines and Geoglyphs of Nasca and Pampas de Jumana. |
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| [[File:Ragtime progression in C.png|thumb|350px|Ragtime progression includes chains of [[secondary dominant]]s {{audio|Ragtime progression in C.mid|Play}}.]]
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| [[File:Jazz standard bridge.png|thumb|right|350px|Progression (E7-A7-D7-G7) {{audio|Jazz standard bridge.mid|Play}} which often appears in the [[bridge (music)|bridge]] of [[jazz standard]]s.<ref>Boyd, Bill (1997). ''Jazz Chord Progressions'', p.56. ISBN 0-7935-7038-7.</ref> The V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7] leads back to C major (I) {{audio|Ragtime progression in C.mid|Play}} but is itself indefinite in key.]]
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| [[File:Ragtime progression voice leading.png|thumb|350px|Ragtime progression's origin in [[voice leading]]: II itself is the product of a 5-6 replacement over IV in IV-V-I. "Such a replacement originates purely in voice-leading, but," the <math>{}^6_3</math> chord above IV (in C: F-A-D) is a first inversion II chord.<ref name="Jonas">[[Oswald Jonas|Jonas, Oswald]] (1982) ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.</ref> {{audio|Ragtime progression voice leading.mid|Play}}]]
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| [[File:VofVofV-VofV-V-I.png|thumb|Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.]]
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| The '''ragtime progression'''<ref>Fahey, John (1970). ''Charley Patton'', p.45. London: Studio Vista. Cited in van der Merwe (1989).</ref> is a [[chord progression]] characterized by a chain of [[secondary dominant]]s, named for its popularity in the [[ragtime]] genre, despite being much older.<ref>Van der Merwe, Peter (2005). ''Roots of the Classical'', p.496. ISBN 978-0-19-816647-4.</ref> Also typical of [[parlour music]], its use originated in [[European classical music|classical music]] and later spread to [[American folk music]].<ref>van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music'', p.321. Oxford: Clarendon Press. ISBN 0-19-316121-4.</ref> Growing, "by a process of gradual accretion. First the [[dominant (music)|dominant chord]] acquired its own dominant...This then acquired ''its'' dominant, which in turn acquired yet another dominant, giving":<ref name="Roots">Van der Merwe (2005), p.299.</ref>
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| {|class="wikitable" style="text-align:left; width:250px;"
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| |width=20%| III7/{{music|#}}
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| |width=20%| VI7/{{music|#}}
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| |width=20%| II7/{{music|#}}
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| |width=20%| V7
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| |width=20%| I
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| |}
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| Or:<!-- The cited texts all describe "a dominant of a dominant of a dominant of a dominant", the corresponding Roman numeral spelling is as follows: --><ref name="Chain">{{cite web | url=http://www.jazzguitar.be/chord_turnarounds.html | title=Turnarounds: How to Turn One Chord into Four | publisher=jazzguitar.be | work=Music Theory Lesson | accessdate=February 27, 2012 | author=Warnock, Matthew}}</ref><ref name="Levine">{{cite book|title=The jazz theory book|author=[[Mark Levine (musician)|Levine, Mark]]|year=1996|publisher=[[O'Reilly Media]]|isbn=1-883217-04-0|url=http://books.google.com/books?id=iyNQpJ4oaMcC|accessdate=February 27, 2012}}</ref>
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| {|class="wikitable" style="text-align:left; width:250px;"
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| |width=20%| (V7/V/V/V)
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| |width=20%| V7/V/V
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| |width=20%| V7/V
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| |width=20%| V7
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| |width=20%| I
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| |}
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| Or:<ref>Averill, Gage (2003). ''Four Parts, No Waiting'', p.162. ISBN 978-0-19-511672-4.</ref><ref>Weissman, Dick (2005). ''Blues: The Basics'', p.50. ISBN 978-0-415-97067-9.</ref>
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| {|class="wikitable" style="text-align:left; width:250px;"
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| |width=20%| (III7)
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| |width=20%| VI7
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| |width=20%| II7
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| |width=20%| V7
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| |width=20%| I
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| |}
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| In C major this is:
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| {|class="wikitable" style="text-align:left; width:250px;"
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| |width=20%| (E7)
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| |width=20%| A7
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| |width=20%| D7
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| |width=20%| G7
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| |width=20%| C
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| |}
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| Most commonly found in its four chord version (thus the parentheses). {{audio|Ragtime progression in C four chords.mid|Play}} This may be perceived as a, "harder, bouncier sounding progression," than the [[diatonic]] vi-ii-V7-I, in C: Am-Dm-G7-C.<ref name="Scott">Scott, Richard J. (2003). ''Chord Progressions for Songwriters'', p.428. ISBN 978-0-595-26384-4.</ref><ref name="Davis">Davis, Kenneth (2006). ''The Piano Professor Easy Piano Study'', p.105. ISBN 978-1-4303-0334-3. Same quote but gives the progression in E instead of C.</ref> {{audio|Standard progression in C.mid|Play}} The three chord version (II-V-I) is, "related to the cadential progression [[I-IV-V-I|IV-V-I]]...in which the V is [[tonicization|tonicized]] and stabilized by means of II with a raised [[third (chord)|third]]."<ref name="Jonas"/>
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| The progression is an example of [[centripetal harmony]], harmony which leads to the [[tonic (music)|tonic]] and an example of the [[circle progression]], a progression along the [[circle of fifths]]. Though creating or featuring [[chromaticism]], the [[bass note|bass]] (if the [[root (chord)|roots]] of the chords), and often the [[melody]], are [[pentatonic scale|pentatonic]].<ref name="Roots"/> (Major pentatonic on C: CDEGA) Contrastingly, Averill argues that the progression was used because of the potential if offered for chromatic pitch areas.<ref>Averill, Gage (2003). ''Four Parts, No Waiting: A Social History of American Barbershop Harmony'', p.162. ISBN 978-0-19-511672-4.</ref>
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| Variations include the addition of [[minor seventh chord]]s before the [[dominant seventh chord]]s, creating overlapping temporary [[ii-V-I turnaround|ii-V-I]] relationships<ref>Boyd (1997), p.60.</ref> through ii-V-I [[chord substitution|substitution]]:
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| {|class="wikitable" style="text-align:left; width:300px;"
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| |width=20%| Bm7-E7
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| |width=20%| Em7-A7
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| |width=20%| Am7-D7
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| |width=20%| Dm7-G7
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| |width=20%| C
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| |}
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| since '''Bm7-E7-A''' is a '''ii-V-I''' progression, as is '''Em7-A7-D''' and so on. {{audio|Ragtime progression in C ii-V-I substitution.mid|Play}}
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| {{listen|filename=Franz Liszt - Liebestraum, Ab Major.ogg|title=Liebestraum No. 3|description=|description=Performed by [[Martha Goldstein]] on an 1851 Erard piano|format=[[ogg]]}}
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| Examples of the use of the ragtime progression include the chorus of [[Joseph E. Howard|Howard]] & [[Ida Emerson|Emerson]]'s "[[Hello! Ma Baby]]" (1899), the traditional "Keep On Truckin' Mama", [[Robert Johnson]]'s "[[They're Red Hot]]" (1936), [[Arlo Guthrie]]'s "[[Alice's Restaurant]]" (1967),<ref>Scott (2003), p.429</ref> [[Bruce Channel]]'s "[[Hey! Baby]]" (1962), [[The Rooftop Singers]]' "[[Walk Right In]]" (1963), [[James P. Johnson]]'s "[[Charleston (song)|Charleston]]" (1923), [[Ray Henderson]]'s "[[Has Anybody Seen My Gal? (song)|Five Foot Two, Eyes of Blue]]" (1925),<ref name="Davis"/> [[Reverend Gary Davis|Rev. Gary Davis]]'s "[[Salty Dog Blues|Salty Dog]]",<ref>Grossman, Stefan (1998). ''Rev. Gary Davis/Blues Guitar'', p.71. ISBN 978-0-8256-0152-1.</ref> [[Ben Bernie|Bernie]] and [[Maceo Pinkard|Pinkard]]'s "[[Sweet Georgia Brown]]" (1925), the "Cujus animam" (mm.9-18) in [[Gioachino Rossini|Rossini]]'s ''[[Stabat Mater (Rossini)|Stabat Mater]]'', the beginning of [[Franz Liszt|Liszt]]'s ''[[Liebesträume]]'' (1850),<ref name="Roots"/> [[Bob Carleton]]'s "[[Ja-Da]]" (1918),<ref>Weissman, Dick (2001). ''Songwriting: The Words, the Music and the Money'', p.59. ISBN 9780634011603. and Weissman, Dick (1085). ''Basic Chord Progressions: Handy Guide'', p.28. ISBN 9780882844008.</ref> and [[Sonny Rollins]]'s "[[Doxy (song)|Doxy]]" (1954).<ref>{{cite book|last1=Fox|first1=Charles|last2=McCarthy|first2=Albert|title=Jazz on record: a critical guide to the first 50 years, 1917-1967|year=1960|publisher=Hanover Books|page=62}}</ref>
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| ==See also==
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| *[[Diatonic function]]
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| *[[Extended dominant]]
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| *[[Rhythm changes]]
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| ==Sources==
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| {{reflist}}
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| ==Further reading==
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| *Averill, Gage (2003). ''Four Parts, No Waiting'', p. 32. ISBN 978-0-19-511672-4.
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| ==External links==
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| * [http://www.angelfire.com/fl4/moneychords/ragtime.html ''MoneyChords'': "Ragtime Progressions"] History
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| {{Chord progressions}}
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| [[Category:Chord progressions]]
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| [[Category:Ragtime]]
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37 year-old Microbiologist Kimrey from Port McNicoll, really likes cryptography, diet and greeting card collecting. Enjoys travel and ended up stimulated after going to Lines and Geoglyphs of Nasca and Pampas de Jumana.