| 词条 | Approach chord |
| 释义 |
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:[3] |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, A{{music|b}}m being the half-step to Am, D{{music|#}}7 being the half-step to D7, and G{{music|b}}7 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:[4] FACE – CEGB. Approach chords may thus be a semitone or a fifth or fourth from their target.[5] Approach chords create the harmonic space of the modes in jazz rather than secondary dominants.[6] See also
Sources1. ^Boyd, Bill (1997). Jazz Chord Progressions, p.43. {{ISBN|0-7935-7038-7}}. 2. ^Fisher, Jody (2000). Jazz Skills: Filling the Gaps for the Serious Guitarist, p.30. {{ISBN|1-929395-10-8}}. 3. ^Sokolow, Fred (2002). Jazzing It Up, p.11. {{ISBN|0-7935-9112-0}}. 4. ^Felts, Randy (2002). Reharmonization Techniques, p.19. {{ISBN|0-634-01585-0}}. 5. ^Grove, Dick (1989). Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music, p.139. {{ISBN|0-88284-484-9}}. 6. ^Pease, Ted (2003). Jazz Composition: Theory and Practice, p.68. {{ISBN|0-87639-001-7}}. Further reading
1 : Chords |
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