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Joe2758

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Posts: 1
Reply with quote  #1 
In the book, Ted mentions a few times that it was designed to be played through in order. Does anyone have any insight as to why he started with I iii IV V? I haven’t seen it in standards yet. Is it something I can just throw in as a turnaround? An option to replace a I vi ii V?

I’m aware of how I and iii can have the same function, and IV the same function as ii. It’s a nice progression and the melodies are great. I’m just wondering why he chose it. Was it a pet favorite of his?
BigMickey

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Posts: 34
Reply with quote  #2 
Hello Joe,

Hoping all is well.  Maybe because the progression is diatonic and potentially easy on the ears.  Also sets you up for the next section on diatonic chord scales and the exercises concerning working through various diatonic forms, and the SWR and SWB progressions  At the start of the next section on I vi ii V, Ted writes that it's comparatively "another" important diatonic harmonic formula, so it appears that was what he might have been thinking regarding the I iii IV V.  Also easy to riff using the appropriate major scale over the progression, so a good place to break the ice for players new to modern chord progressions.

Just my thoughts.  I am sure that those who knew Ted have a more definitive answer.

Mike
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