By doubles, we mean pairs of chords used together in an alternating manner. For example, while a melody note is being sung in a chorus or hymn, the harmony could change quickly between a C and F chord (I-IV-I), a C and G chord (I-V-I), or what happens frequently in African Gospel music, a C and D minor chord (I-ii-I). This technique is a basic harmonic idea used in Rock music as well. It’s one way to give movement and energy to a piece.
The blues scale is used in both slow and fast Gospel. We can deepen the soulfulness of a melody through the altered scale degrees drawn from the blues style. The third, the fifth and the seventh of the major scale are frequently lowered (flatted) or inflected.
The forward and reverse clave is basic to much Latin music as are Montuo patterns.
In this chapter we mainly concentrate on two “dominant” progressions: (1) progressions down a fourth; and (2) secondary (or applied) dominants. From your music theory, you may have learned about V of V chords (an example of a secondary dominant). Secondary dominants usually introduce chromaticism, and often propel the music forward strongly.