Constant structure

{{short description|Music composition and performance technique}}

In jazz, a constant structure is a chord progression consisting of three or more chords of the same type or quality.Rawlins, Robert (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p.131. {{ISBN|0-634-08678-2}}. Popularized by pianists Bill Evans and Herbie Hancock, the combination of functional and nonfunctional chords provides cohesiveness while producing a free and shifting tonal center.{{cite news |last1=Schmeling |first1=Paul |title=Reharmonization with Constant Structure Chords |url=https://www.berklee.edu/berklee-today/summer-2001/Reharmonization |access-date=25 September 2021 |work=Berklee Today |date=1 June 2001}}

File:Constant structure.png]]

For example, the progression F^maj7–A{{music|b}}^maj7–D{{music|b}}^maj7–G{{music|b}}^maj7–C^13sus4 contains four major seventh chords (and one thirteenth chord), none of which are diatonic to the key of F major except the first.

{{Image frame|content=

{

\override Score.TimeSignature #'stencil = ##f

\relative c {

\clef bass

\time 4/4

1_\markup { \concat { \translate #'(-4 . 0) { "C: vi" \raise #1 \small "6" \hspace #6.5 "ii" \hspace #5 "V" \raise #1 \small "6" \hspace #6.5 "I" } } }

\bar "|."

} }

|width=300|caption=A vi–ii–V–I chord progression in CAndrews, William G; Sclater, Molly (2000). Materials of Western Music Part 1, p. 226. {{ISBN|1-55122-034-2}}.}}

In contrast, the vi–ii–V–I or circle progression from classical theory contains four chords of two or three different qualities: major, minor, and possibly a dominant seventh chord; all of which, however, are diatonic to the key. Thus diversity is achieved within a stable and fixed tonal center.

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