{"id":15863,"date":"2016-12-18T00:00:00","date_gmt":"2016-12-18T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=15863"},"modified":"2024-10-07T14:56:41","modified_gmt":"2024-10-07T22:56:41","slug":"heres-the-chorale-perspective-to-playing-cyclical-chord-progressions","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/heres-the-chorale-perspective-to-playing-cyclical-chord-progressions\/","title":{"rendered":"Revealed: The Chorale Perspective To Playing Cyclical Progressions"},"content":{"rendered":"<p>There&#8217;s a chorale perspective to playing cyclical progressions and only a handful of musicians and privileged to know it.<\/p>\n<p>In today&#8217;s lesson, we&#8217;re letting the cat out of the bag for anyone who is interested in playing cyclical chord progressions with effortless ease.<\/p>\n<p><strong>Attention:<\/strong> If you&#8217;re coming across the term <em>cyclical progressions <\/em>for the first time, don&#8217;t worry, we&#8217;re starting this lesson with a thorough review on cyclical progressions.<\/p>\n<p>One of the reasons why it is important for every musician to learn and master cyclical progressions is because of its common place in popular music styles &#8211; especially in jazz and gospel music.<\/p>\n<h2>A Review On Cyclical Progressions<\/h2>\n<p>Chord movements that are based on a particular interval are called cyclical progressions. In this post, we&#8217;re exploring progressions with root movements based on an interval of fourths.<\/p>\n<p>Once again, here&#8217;s our <a href=\"https:\/\/www.hearandplay.com\/main\/introducing-musics-favorite-motion\">cycle (or circle) of fourths<\/a>:<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/03\/circleoffiths1.png\" alt=\"circleoffiths1\" class=\"wp-image-9643 aligncenter\" height=\"320\" width=\"300\" \/><\/p>\n<p>If you follow this cycle in a counter-clockwise direction, it represents the movement of the root of chords in intervals of fourths.<\/p>\n<p>Using this cycle, it&#8217;s easy to see the root move from C to F:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,F,,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;F to Bb:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=F,Bb,,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;Bb to Eb:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Bb,Eb,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;following this musical clock in the counter-clockwise direction.<\/p>\n<p>While the organizing of notes on the cycle of fourths are based on perfect fourth intervals, root progressions can also move using the <em>augmented fourth<\/em> interval.<\/p>\n<p>It&#8217;s possible to have C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;move to F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Fs,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nIt&#8217;s also possible to have F:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;move to B:<\/p>\n<p><strong>Attention:<\/strong> No doubt, root progressions can move in any quality of fourth &#8211; whether perfect or augmented, however, it&#8217;s more common to see them move in the perfect fourth intervals.<\/p>\n<p>Before discussing anything else, let&#8217;s quickly talk about the concept of voicing.<\/p>\n<h2><em>&#8220;What Is Voicing?&#8221;<\/em><\/h2>\n<p>There are four main voice parts in choral music:<\/p>\n<ul>\n<li>Soprano<\/li>\n<li>Alto<\/li>\n<li>Tenor<\/li>\n<li>Bass<\/li>\n<\/ul>\n<p>Here&#8217;s how they are stratified:<\/p>\n<blockquote><p><strong>Soprano<\/strong> is the first voice<\/p>\n<p><strong>Alto<\/strong> is the second voice<\/p>\n<p><strong>Tenor<\/strong> is the third voice<\/p>\n<p><strong>Bass<\/strong> is the fourth voice<\/p><\/blockquote>\n<p>The first and second voices, which are the two upper voices are usually assigned to the female voice, while the third and fourth voices, which are the two lower voices are assigned to the male voice.<\/p>\n<p>The consideration and rearrangement of the notes of a chord as these voice parts is known as voicing. For example, the notes of the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;can be considered as voices.<\/p>\n<p>B:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is the <strong>soprano<\/strong> voice.<\/p>\n<p>G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is the <strong>alto<\/strong> voice.<\/p>\n<p>E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is the <strong>tenor<\/strong> voice.<\/p>\n<p>C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is the <strong>bass<\/strong> voice.<\/p>\n<p>Beyond the consideration of the notes of the C major seventh chord as voices, voicing also entails the rearrangement of these notes using voice-leading principles and voicing techniques which include (but is not limited to):<\/p>\n<ul>\n<li>The part-over-root voicing technique<\/li>\n<li>The rootless voicing technique<\/li>\n<li>The drop-2 voicing technique<\/li>\n<li>The upper-structure voicing technique<\/li>\n<li>The polychord voicing technique<\/li>\n<\/ul>\n<p>Let&#8217;s go ahead and explore the chorale perspective to cyclical progressions. In another lesson, we&#8217;ll expound on these voicing techniques<\/p>\n<h2>Cyclical Progressions From A Chorale Perspective<\/h2>\n<p>While playing a cyclical progression where the root descends by a fifth or ascends by a fourth, for example, the case of the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;progressing to the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,A,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;the common challenge a vast majority of pianists face is <em>smoothness.<\/em><\/p>\n<p>The downward movement of the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,A,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is not smooth because all the voices are literally transposed down a perfect fifth interval.<\/p>\n<p><em>&#8220;Say Hello To The Chorale Perspective&#8230;&#8221;<\/em><\/p>\n<p>Here&#8217;s one secret that most advanced players know:<\/p>\n<blockquote><p>In a cyclical chord progression, the two lower voices (which are the bass and tenor voices) in a given chord are the two upper voices (which are the alto and soprano voices) in the next chord.<\/p><\/blockquote>\n<p>For example, in the case of the C major seventh chord and the F major seventh chord, the bass and tenor voices of the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;(which are C and E):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are the alto and soprano voices in the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,A,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;(which are also C and E):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nDue to the fact that two successive chords have two notes in common, only the two upper voices (alto and soprano) move, while the two lower voices (bass and tenor) are static.<\/p>\n<p>In a chord progression from chord 1 to chord 4, the alto and soprano voices of the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;which are G and B respectively:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;move to F and A:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;while the bass and tenor voices (which are C and E):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are static. This produces a chord progression from the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nA downward movement of the bass and tenor voices of the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;which are C and E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to B and D:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the B half-diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n<em>&#8220;In A Nutshell&#8230;&#8221;<\/em><\/p>\n<p>In a cyclical chord progression, all the voices don&#8217;t move at the same time. The upper voices (alto and soprano) move downwards in root position seventh chords while the lower voices (bass and tenor) move downwards in second inversion chords.<\/p>\n<h3>Cyclical Chord Progression In The Key Of C Major<\/h3>\n<p>Starting from the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;moving the alto and soprano voices (G and B):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to F and A:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to produce the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the bass and tenor voices of the F major seventh chord (which are C and E):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to B and D:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the B half-diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the alto and soprano voices of the B half-diminished seventh chord (which are F and A):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to E and G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the E minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the bass and tenor voices of the E minor seventh chord (which are B and D):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to A and C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the A minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the alto and soprano voices of the A minor seventh chord (which are E and G):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to D and F:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the D minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the bass and tenor voices of the D minor seventh chord (which are A and C):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to G and B:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the G dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\nMoving the alto and soprano voices of the G dominant seventh chord (which are D and F):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;downwards to C and E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;produces the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n<em>&#8220;Putting It Together&#8230;&#8221;<\/em><\/p>\n<p><strong>Attention:\u00a0<\/strong>Please pay attention to the movement of the voices.<\/p>\n<p>The C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the F major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the B half-diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,F,A,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the E minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the A minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,E,G,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the D minor seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the G dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D,F,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,C,E,&amp;color=00CCCC&amp;size=2\" border=\"0\" \/><\/p>\n<h2>Final Words<\/h2>\n<p>Congratulations! I&#8217;m doubly sure that you can now play cyclical progressions with effortless ease, just by the mere understanding of the concept of voicing. Indeed knowledge is power.<\/p>\n<p>In the next lesson, we&#8217;ll be transposing this cyclical progression to all twelve major keys.<\/p>\n<p>See you then!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In today&#8217;s lesson, we&#8217;re exploring the chorale perspective to playing cyclical progressions.<\/p>\n","protected":false},"author":9,"featured_media":22694,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[2380,17,219,2378,2005,2382,2379,919,2381,2100],"class_list":["post-15863","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-alto","tag-basic-songs","tag-bass","tag-chorale","tag-cyclical-progressions","tag-lower-voices","tag-soprano","tag-tenor","tag-upper-voices","tag-voicing","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- 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