The Progression and the Pedal Point

The I-vi-ii-V progression is one of the most common progressions in jazz, next to the 12-bar blues. The progression begins Gershwin’s “I Got Rhythm” (the term Rhythm changes refers to compositions that use the overall form and progression of the classic show tune), and is the basis for the first chords Bob James plays on “Billy Boy.” Check out the example below to wrap your head around it.

To get a nice tension in your playing, we can use a pedal tone (or pedal point), a device that works particularly well with song introductions like Bob’s intro to “Billy Boy.” The term originates with the organ — an organist can hold down a foot pedal while changing chords with his or her hands. You can achieve this effect without pedals as well; simply play a repeating note with your left hand while your right hand plays various chords over the top. Check out Ex. 1c for more.

Ex. 1. 1a shows the I-vi-ii-V progression in C major, with the right hand playing four-note voicings while the left hand plays the roots of each chord. You can loop this progression and it will just keep moving along, mostly due to the momentum created by the ii-V progression in the second measure. To add a touch more forward motion, we can change the second chord, substituting A7 for Am7, as shown in 1b. By simply changing the C to a C# in the chord, we now have a dominant sound, which wants to resolve to the following chord, Dm7. It might be helpful to think of the A7 is the V of Dm7. In 1c, Bob plays a G pedal (which is the V) underneath the entire I-vi (substitute VI7)-ii-V progression. It adds suspense and anticipation, since our ears anticipate that V resolving.