ragtime progression

{{for|the I–IV–vii°–iii–vi–ii–V–I or I–vi–ii–V–I chord progression|Circle progression}}

{{Image frame|content= {

\relative c' {

\clef treble

\time 4/4

\key c \major

1_\markup { \concat { \translate #'(-3.5 . 0) { "C: III" \raise #1 \small "7" \hspace #5 "VI" \raise #1 \small "7" \hspace #5.5 "II" \raise #1 \small "7" \hspace #5.5 "V" \raise #1 \small "7" \hspace #6 "I" } } }

< g, d' f! b> \bar "||" \bar "||"

} }

|width=370|caption=The ragtime progression (E⁷-A⁷-D⁷-G⁷-C) often appears in the bridge of jazz standards.Boyd, Bill (1997). Jazz Chord Progressions, p.56. {{ISBN|0-7935-7038-7}}. The III⁷-VI⁷-II⁷-V⁷ (or V⁷/V/V/V–V⁷/V/V–V⁷/V–V⁷) leads back to C major (I) but is itself indefinite in key.}}File:Ragtime progression voice leading.png: 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 {{SubSup||3|6}} chord above IV (in C, FAD) is a first-inversion II chord.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}}. {{audio|Ragtime progression voice leading.mid|Play}}]]

The ragtime progressionFahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989). is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older.van der Merwe, Peter (2005). Roots of the Classical, p.496. {{ISBN|978-0-19-816647-4}}. Also typical of parlour music, its use originated in classical music and later spread to American folk music.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}}. Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":Van der Merwe (2005), p.299.

It can be represented in Roman numeral analysis as{{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}}{{cite book|title=The jazz theory book|author=Levine, Mark|author-link=Mark Levine (musician)|year=1996|publisher=O'Reilly Media|isbn=1-883217-04-0|url=https://books.google.com/books?id=iyNQpJ4oaMcC|accessdate=February 27, 2012}}

:

class="wikitable" style="text-align:center; width:350px;" |width=20%| (V7/V/V/V) |width=20%| V7/V/V |width=20%| V7/V |width=20%| V7 |width=20%| I

orAverill, Gage (2003). Four Parts, No Waiting, p.162. {{ISBN|978-0-19-511672-4}}.Weissman, Dick (2005). Blues: The Basics, p.50. {{ISBN|978-0-415-97067-9}}.

:

class="wikitable" style="text-align:center; width:350px;" |width=20%| (III7) |width=20%| VI7 |width=20%| II7 |width=20%| V7 |width=20%| I

In C major this is

:

class="wikitable" style="text-align:center; width:350px;" |width=20%| (E7) |width=20%| A7 |width=20%| D7 |width=20%| G7 |width=20%| C

Most commonly found in its four-chord version (including the chord in parentheses). This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi–ii–V⁷–I (in C: Am–Dm–G⁷–C).Scott, Richard J. (2003). Chord Progressions for Songwriters, p.428. {{ISBN|978-0-595-26384-4}}.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. {{audio|Standard progression in C.mid|Play}} The three-chord version (II–V–I) is "related to the cadential progression IV–V–I...in which the V is tonicized and stabilized by means of II with a raised third."

The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fourths. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic. (major pentatonic on C: {{nowrap|C, D, E, G, A}}) Contrastingly, Averill argues that the progression was used because of the potential it offered for chromatic pitch areas.Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony, p.162. {{ISBN|978-0-19-511672-4}}.

Variations include the addition of minor seventh chords before the dominant seventh chords, creating overlapping temporary ii–V–I relationshipsBoyd (1997), p.60. through ii–V–I substitution:

:

class="wikitable" style="text-align:center; width:400px;" |width=20%| Bm7{{pad|0.5em}}E7 |width=20%| Em7{{pad|0.5em}}A7 |width=20%| Am7{{pad|0.5em}}D7 |width=20%| Dm7{{pad|0.5em}}G7 |width=20%| C

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}}

{{listen|filename=Franz Liszt - Liebestraum, Ab Major.ogg|title=Liebestraum No. 3 in A{{music|b}} major|description=Composer Franz Liszt. Performed by Martha Goldstein on an 1851 Erard piano|format=ogg}}

Examples of the use of the ragtime progression include the chorus of Howard & 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),Scott (2003), p.429 Bruce Channel's "Hey! Baby" (1962), Gus Cannon' "Walk Right In" (1929), James P. Johnson's "Charleston" (1923), Ray Henderson's "Five Foot Two, Eyes of Blue" (1925), Rev. Gary Davis's "Salty Dog,"Grossman, Stefan (1998). Rev. Gary Davis/Blues Guitar, p.71. {{ISBN|978-0-8256-0152-1}}. Bernie and Pinkard's "Sweet Georgia Brown" (1925), the "Cujus animam" (mm.9-18) in Rossini's Stabat Mater, the beginning of Liszt's Liebesträume (1850), Bob Carleton's "Ja-Da" (1918),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}}. and Sonny Rollins's "Doxy" (1954).{{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}}