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Backdoor progression
Backdoor progression
Backdoor progression
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Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent.

In jazz and jazz harmony, the chord progression from iv7 to ♭VII7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression[1][2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker. This name derives from an assumption that the normal progression to the tonic, the ii-V-I turnaround (ii-V7 to I, see also authentic cadence) is, by inference, the "front door", a metaphor suggesting that this is the main route to the tonic.

The ♭VII7 chord, a pivot chord borrowed from the parallel minor of the current tonic major key, is a dominant seventh. Therefore, it can resolve to I; it is commonly preceded by IV going to iv, then ♭VII7, then I. In C major the dominant would be G7: (the notes GBDF), sharing two common tones with B♭7: (the notes B♭DFA♭). The notes A♭ and F serve as upper leading-tones back to G and E (when the chord moves to the tonic, C major), respectively, rather than B♮ and F serving as the lower and upper leading-tones to C and E in a conventional G7-C major (V7-I) cadence.

A backdoor IV-V is also possible, moving from ♭VIM7 to ♭VII7 to I. This is also commonly known as a "Mario Cadence".[3]

Alternative usage

[edit]
Berg's "Backdoor progression" to iii, with I in place of iii: ♯ivø7-VII7(♭9)-Imaj9 Playⓘ

The term "Backdoor" has been used by author Shelton Berg to refer to another entirely unrelated progression. The unexpected modulation created through the substitution of the highly similar Imaj9 for iii7 (in C: CEGBD and EGBD) at the end of the iiø7-V7 turnaround to a tonicized iii (iiø7/iii=♯ivø7, V7/iii=VII7, iii), arrives at 'home' (the temporary tonic of iii) through unexpected means, the 'back door' instead of the 'front door'(iii7, the individual notes EGBD, being entirely contained within Imaj9, the individual notes of the C major chord, CEGBD, and the seventh of the dominant seventh chord still resolving downward).[4] The resolution of a dominant seventh chord up a step (in this case a half-step, also called a semitone) is called a deceptive cadence.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Backdoor progression

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In , the backdoor progression, also known as the backdoor ii-V, is a non-diatonic chord sequence typically comprising the minor (iv7) followed by the flat-seven dominant (♭VII7), resolving to the tonic (I) chord. This progression substitutes for the conventional ii-V-I by borrowing chords from the parallel minor key, facilitating a resolution through smooth where the b7 of the dominant chord descends by half-step to the fifth of the tonic. It can appear in a one-chord form as simply ♭VII7 to I or in the fuller two-chord iv7–♭VII7 to I, often notated in C major as Fm7–B♭7–Cmaj7. The term "backdoor progression" was coined by jazz educator and theorist Jerry Coker in his 1997 book Elements of the Jazz Language for the Developing Improvisor, where he described it as a substitute for the V7 chord leading to the tonic. The name evokes the idea of an indirect or "back entrance" to the tonic, contrasting the direct approach via the diatonic V7 dominant, and it draws on modal mixture principles common in the era. Theoretically, the ♭VII7 shares relationships with altered dominants and enables chromatic resolutions, such as the b9 tension resolving by half-step to the root of the tonic. This progression is a staple in jazz standards, appearing in tunes like "Misty" (measures 4–5 of the A section), "" (measures 8–9 and 12–13), "" (measures 28–29), and "" (measures 3–6 of the A section). It also features in blues variations, such as the backdoor 2-5-1 in the sixth bar of a 12-bar form, and in standards like "" and "Tenderly." For improvisation, musicians often approach it as a ii-V in the key starting a minor third above the tonic (e.g., treating Fm7–B♭7 as ii-V in before resolving to C), or by applying the to the ♭VII7 chord with added alterations like b9 or #9 for color.

Definition and Structure

Core Chord Progression

The backdoor progression is a fundamental three-chord sequence in , typically functioning as an alternative resolution to the tonic in a key. It comprises the on the (iv7), followed by the on the flattened subtonic (♭VII7), which then resolves to the tonic chord (I). This structure provides a non-diatonic approach to the tonic, borrowing elements from the parallel key for added color and tension. In , the progression is notated as iv7-♭VII7-I, emphasizing its role as a complete cadential unit rather than isolated chords. The iv7 sets up a modal shift, the ♭VII7 introduces dominant tension through its interval, and the final I delivers resolution, making the three-chord format essential for the progression's characteristic "backdoor" effect—approaching the tonic from an unexpected harmonic direction. A detailed example in the key of illustrates this sequence: Fm7 (comprising the chord tones F-A♭-C-E♭), progressing to B♭7 (B♭-D-F-A♭), and resolving to Cmaj7 (C-E-G-B). The resolution from B♭7 to Cmaj7 highlights the tension-release dynamic, with such as the ♭7 of B♭7 (A♭) resolving down by half step to the 5th of Cmaj7 (G), and the 5th of B♭7 (F) moving down to the 3rd (E), creating smooth chromatic motion akin to a standard dominant-tonic cadence.

Naming and Terminology

The term "backdoor progression" is attributed to jazz educator Jerry Coker, who described it in his 1991 book Elements of the Jazz Language for the Developing Improvisor, referring to the unconventional resolution to the tonic chord from the "back" via the minor subdominant and flattened subtonic, in contrast to the standard dominant-tonic approach termed the "front door." This nomenclature highlights the progression's indirect, surprise-like entry into the key, evoking a metaphorical rear entrance. Common alternative names include the backdoor ii-V, emphasizing its structural similarity to a ii-V but with borrowed chords; the backdoor , underscoring its cadential function; and the backdoor dominant, specifically when the progression is abbreviated to the flattened subtonic dominant resolving directly to the tonic. The backdoor progression must be distinguished from "backcycling," a broader technique involving the reversal of chords in a cycle-of-fifths sequence, such as progressing backward from the tonic through areas; the backdoor remains a distinct idiom tied to modal mixture and resolution. The terminology emerged within late 20th-century to formalize and teach a pre-existing pattern in standards, gaining traction through educational texts and guides.

Theoretical Explanation

Relation to ii-V Progression

The backdoor progression derives from the ii-V framework through borrowing chords from the parallel minor key, functioning as a modal variant that introduces unexpected color while maintaining a similar pre-dominant to dominant resolution structure. In the key of C major, the standard ii-V-I uses the diatonic chords Dm7 (ii7) and G7 (V7) resolving to Cmaj7, whereas the backdoor substitutes Fm7 (iv7) and B♭7 (♭VII7) resolving to Cmaj7. Here, Fm7 serves as the iv7 (subdominant minor) chord borrowed from the parallel minor (C minor), and B♭7 functions as the ♭VII7 dominant in that minor key, typically resolving to the tonic minor (Cm7) but instead effecting a deceptive resolution upward to the major tonic Cmaj7. It is often analyzed as a ii-V progression in the key of (a minor third above C), where Fm7–B♭7 would resolve to E♭maj7, but instead deceptively resolves to Cmaj7. This substitution contrasts with the standard ii-V by employing borrowed minor chords for enrichment, effectively transposing the progression upward by a to create a "back entrance" to the tonic. The diatonic major ii7-V7 employs scale degrees fully within the (e.g., Dm7-G7 draws from C major's natural notes), providing a smooth, expected ; in comparison, the backdoor's Fm7-B♭7 introduces flattened tones (E♭ in Fm7 and B♭7) for a bluesier, more tense approach that resolves satisfyingly to Cmaj7 despite the modal shift. This upward transposition—Dm7 to Fm7 (from D to F, a minor third) and G7 to B♭7 (from G to B♭)—preserves the ii-V intervallic motion but relocates it to emphasize borrowed over diatonic purity. Conceptually, the backdoor progression exemplifies modal interchange, specifically drawing from the Aeolian mode (natural minor) of the parallel minor to infuse the major key with ♭3 and ♭7 scale degrees. In C major, borrowing Fm7 and B♭7 from C Aeolian replaces the brighter major-key colors with the darker, more melancholic tones of the parallel minor, enhancing emotional depth without fully departing from the tonic. This interchange treats the backdoor as a ii-V rotated up a minor third, where the standard Dm7-G7 becomes Fm7-B♭7, but the resolution pivots deceptively to I major rather than the expected minor or bIII tonic.

Harmonic Function and Voice Leading

In the backdoor progression, the iv7 chord functions as a predominant , substituting for the diatonic ii7 chord and setting up tension toward resolution. The ♭VII7 chord acts as a dominant substitute to the tonic, borrowed from the parallel minor key to introduce ♭3 and ♭7 scale degrees for added chromatic color, heightening tension before resolving to the tonic I (or Imaj7) chord. This borrowed element from the parallel minor provides the progression's non-diatonic color without altering the overall major key center. Voice leading in the backdoor progression emphasizes smooth, linear motion through shared tones and half- or whole-step resolutions, contributing to its effectiveness as a substitute for the standard ii-V-I. In the key of , for instance, the chord (F–A♭–C–E♭ in root position) shares the notes F and A♭ with the ensuing B♭7 (B♭–F–A♭–D), while the E♭ moves down a half step to D and the C remains a common tone or adjusts minimally. From B♭7 to Cmaj7 (C–E–G–B), the ♭7 of B♭7 (A♭) resolves downward by half step to the 3rd of Cmaj7 (G), and the root of B♭7 (B♭) ascends a whole step to the root of Cmaj7 (C), with the 5th of B♭7 (F) potentially leading to E. This half-step root motion from Fm7 to B♭7 further enhances the progression's fluid connectivity. The resolution from ♭VII7 to I creates a deceptive , where the dominant function derived from the minor key surprises by landing on the major tonic rather than a minor vi, amplifying emotional impact through unresolved tension. Chromatic lines, such as a descending ♭3 (E♭) to 2 (D) to 1 (C), underscore this tension and provide melodic during the approach to resolution.

Historical Context

Origins in Jazz Standards

The backdoor progression first appeared in compositions during the 1910s and standards through the , where it served as a colorful harmonic device to enrich major key resolutions without formal theoretical designation. An early example is "After You've Gone" (1918) by Turner Layton, which features the progression in its harmonic structure. This pattern, involving the iv and ♭VII7 chords leading to I, added emotional depth to tunes from the , emerging as composers sought sophisticated alternatives to diatonic cadences. Notable instances include Kern's "All the Things You Are" (1939), which incorporates the progression in its modulating sections to provide vivid harmonic color. The progression drew influence from 12-bar turnarounds and modal mixtures prevalent in pre- , adapting borrowed chords from the parallel minor to create alternative resolutions that echoed phrasing while fitting the structural demands of . These elements were integrated into Broadway and crossover works by key figures such as , whose standards often featured similar non-diatonic substitutions for expressive variety. By the 1940s, pioneers like adapted the progression for improvisational contexts, as seen in his 1945 recording of "," where it reharmonizes the form with a ♭IVm7-♭VII7 approach to the tonic. Parker's "" similarly employs it in the A sections, highlighting its utility in fast-paced, chromatic lines. Prior to 1991, the progression was widely documented in fake books and lead sheets circulating among musicians from the onward, appearing in standards like Erroll Garner's "Misty" (1954), which rooted its harmonic practices in earlier traditions. These collections, including early iterations of , preserved the unnamed pattern as a staple of repertoire, allowing performers to navigate its voice-leading intuitively through practical use rather than labeled .

Popularization and Terminology

The term "backdoor progression" was formalized in print by jazz educator Jerry Coker in his 1991 book Elements of the Jazz Language for the Developing Improvisor, where he described it as a substitute for the dominant V7 chord, marking the first documented use of the phrase in jazz literature. The concept gained wider traction during the and through jazz clinics, textbooks, and emerging online resources, including Mark Levine's influential The Jazz Theory Book (1995), which integrated it into discussions of harmonic substitutions and ii-V progressions. In formal jazz education, the backdoor progression became a standard topic as a ii-V substitution in conservatory curricula, notably at institutions like , where it is analyzed using the school's arrow-and-bracket harmonic notation system to illustrate and resolution. From the onward, the proliferation of video tutorials and analyses on platforms like further democratized the concept, enabling amateur musicians to explore its application beyond professional training environments. Although the progression appeared in pop-jazz fusion works by artists such as during the 1970s—evident in several of his compositions featuring the iv7–♭VII7–I motion—the specific terminology solidified within academic studies by the 2000s, distinguishing it from earlier implicit uses in standards. Key milestones in its dissemination include its chordal representation (without the name) in The editions starting from the 1970s, with explicit naming in subsequent educational revisions and resources; by the 2010s, it had influenced predefined chord libraries in music notation software such as Sibelius, facilitating its integration into contemporary composition tools.

Applications and Examples

In Jazz Standards

The backdoor progression plays a significant role in many classic jazz standards, often appearing in strategic locations such as turnarounds, bridges, or codas to provide a smooth yet unexpected resolution to the tonic, leveraging borrowed chords from the parallel minor for added color and tension release. This substitution for the standard ii-V-I creates a sense of surprise while maintaining voice leading efficiency, frequently emphasizing the minor subdominant (iv7) and flat-seven dominant (♭VII7) to approach the I chord from the upper half-step. In improvisation, musicians like Miles Davis highlighted these changes by arpeggiating the ♭VII7 chord—such as A♭7 leading to B♭maj7 in "Flamenco Sketches"—before resolving to tonic targets, blending modal interchange scales from the major and parallel minor for melodic lines that underscore the harmonic shift. One prominent example is Erroll Garner's 1954 standard "Misty," composed in . In measures 4–5 of the A section (and repeated in the AABA form), the progression unfolds as Fm7 (iv7) to Bb7 (♭VII7) resolving to (I), serving as an early return to the tonic after the initial IV chord and providing a subtle contrast to the surrounding ii-V movements. This placement in the head reinforces the tune's lyrical flow, with the backdoor borrowed from to enhance the emotional depth of the melody's descent. Overall, these implementations in standards highlight the backdoor progression's versatility for structural surprise and improvisational opportunities, often positioned to punctuate phrases without disrupting the overall tonal center. The backdoor progression has found widespread use in popular music genres such as , and , where it provides smooth, emotive resolutions and emotional lifts without relying on the harmonic complexity typical of . In and R&B, particularly during the 1970s era, the progression served as a staple for creating upbeat returns to the tonic, infusing songs with a warm, groovy feel derived from borrowed chords. , a key figure in this style, frequently employed it; for instance, in "Knocks Me Off My Feet" (1976, from the album Songs in the Key of Life), the chorus features Fm7–Bb13–Cmaj7 in the key of , exemplifying the iv7–bVII7–I that adds a soulful, intimate resolution. In rock and pop, the backdoor progression often appears in adapted forms to enhance verse resolutions or bridge transitions, contributing to memorable hooks. ' "" (1968, from the album of the same name) incorporates an adapted version in the bridge, shifting through related minor and dominant chords to build tension before resolving to the tonic in , highlighting its role in pop's rhythmic drive. Similarly, ' "" (1984, from Reckless) uses it in the verse resolution, where the iv–bVII–I motion in provides a nostalgic uplift that underscores the song's anthemic quality. Jimi Hendrix's "Bold as Love" (1967, from Axis: Bold as Love) employs the progression in modal sections, blending it with elements for an ethereal emotional peak via Dm7––Cmaj7 in C major. This progression's adaptability has extended its influence into modern contexts, including hip-hop samples and indie tracks, where it creates subtle harmonic surprises and emotional depth without overt influences. In /R&B, its prevalence in productions of the 1970s, such as those by , helped popularize the iv7–bVII7–I for vibrant, accessible turnarounds that resonated across mainstream audiences.

Variations and Substitutions

Common Modifications

Common modifications to the backdoor progression, which builds on the basic iv7 - ♭VII7 - I form, typically involve alterations in chord quality, length, or extensions while maintaining the essential half-step resolution from the third of the ♭VII7 chord to the of the I chord for strong tonal pull. One frequent variant replaces the minor iv7 with a major IVmaj7 chord, yielding IVmaj7 - ♭VII7 - I (e.g., in C : Fmaj7 - B♭7 - Cmaj7), which preserves the dominant function of the ♭VII7 but introduces a brighter, more color due to the major quality. This adjustment enhances compositional flexibility by smoothing the transition from preceding harmonies. The progression can also be shortened to just the ♭VII7 - I (e.g., B♭7 - Cmaj7 in C major), functioning as a single-chord substitute for the standard V7 - I and providing a concise dominant resolution, particularly useful in turnarounds. Extended forms often prepend additional chords like the ii7 or ♭vi7 before the iv7, creating chains of substitutions such as ii7 - iv7 - ♭VII7 - I (e.g., Dm7 - Fm7 - B♭7 - Cmaj7 in C major), which builds tension through sequential minor and dominant movement. For advanced reharmonization, the ♭VII7 can integrate , replacing it with a dominant chord a away (e.g., E7 substituting for B♭7 in C major), which shares key tensions like the ♭9 and #5 while altering the root position for varied .

Usage in Different Genres

In rock and music, the backdoor progression often manifests in a simplified IV - ♭VII7 - I turnaround within the 12-bar form, typically at bars 6 or 10, to create a gritty resolution that enhances the genre's rhythmic drive. This adaptation omits the minor iv7 chord found in versions, favoring major IV voicings without added sevenths for a straightforward, groove-oriented sound. In and modern styles, the progression expands through extended voicings and modulations, as seen in Pat Metheny's work where a like bVI - bVII - I facilitates smooth shifts between sections, adding harmonic surprise to electric ensembles. Global adaptations highlight the progression's versatility, particularly in subgenres like , where it is incorporated for rhythmic and melodic flow, blending with grooves. Post-2000 contemporary trends feature the backdoor as a "soulful" substitute in songwriting tools and tutorials. This shift underscores a broader distinction from usage, emphasizing applications in non-improvisational contexts.

References

  1. https://www.learnjazzstandards.com/blog/learning-jazz/jazz-theory/backdoor-progression/
  2. https://www.pianogroove.com/blues-piano-lessons/backdoor-251-progression/
  3. http://peterspitzer.blogspot.com/2016/01/the-back-door-chord-progression.html
  4. https://files.mcclimon.org/projects/dissertation.pdf
  5. https://www.jazz-guitar-licks.com/blog/lessons/what-is-a-backdoor-progression-and-how-to-play-over-it.html
  6. https://truefire.com/jazz-guitar-lessons/harmony-handbook/c962
  7. https://pianowithjonny.com/piano-lessons/modal-interchange-the-complete-guide-to-borrowed-chords/
  8. https://antonjazz.com/2012/01/backdoor-ii-v-progression/
  9. https://pianowithjonny.com/piano-lessons/unlocking-the-backdoor-2-5-1-progression/
  10. https://www.jazzguitar.be/forum/theory/70692-cadences-iii-vi-ii-v-backdoor-cadences-sub7-good-resource-2.html
  11. https://www.learnjazzstandards.com/blog/2-5-1-chord-progression/
  12. https://pianowithjonny.com/piano-lessons/bird-blues-charlie-parkers-reharm-of-the-12-bar-blues/
  13. https://books.google.com/books/about/Elements_of_the_jazz_language_for_the_de.html?id=iQNVErQnTVUC
  14. https://books.google.com/books/about/The_Jazz_Theory_Book.html?id=iyNQpJ4oaMcC
  15. https://offtonic.com/theory/book/6-4.html
  16. https://www.youtube.com/watch?v=avTsiKN8OyY
  17. https://jazzduets.com/products/back-door-ii-v-1
  18. https://www.groove3.com/viewbook/The-Berklee-Book-of-Jazz-Harmony
  19. https://jazzvideolessons.net/standards-studies/flamenco-sketches/
  20. https://www.activemelody.com/forums/topic/the-backdoor-progression-and-other-wizardry/
  21. https://www.youtube.com/watch?v=H0_VcwHDU70
  22. https://www.learnjazzstandards.com/blog/learning-jazz/jazz-theory/tritone-substitution-types/
  23. https://mdecksmusic.com/2022/02/24/pat-metheny-on-piano-how-to-play-compose-sound-like-pat-metheny-on-the-piano-piano-tutorial/
  24. https://www.learnjazzstandards.com/blog/bossa-nova-chord-progressions/
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