Basic Harmonic Motion: Rising Fourths

To wrap up April, Jazz Appreciation Month, I made a video using Music Compass to demonstrate a bass line walking up major tetrachords: Do-Re-Mi-Fa. The interval between Do and Fa is a perfect fourth — this is the “rising fourth”.

Harmonic motion over a rising fourth occurs twice in the ii – V7 – I chord progression so ubiquitous in jazz. A remarkable example of this ii – V7 – I progression is in the Ray Noble jazz standard Cherokee, in which the B section and reprise of the A section are a long chain of 12 ascending fourths!

In this demo video below, you’ll hear the bass line (played on cello!) walking up sequential major tetrachords.

The harmonic motion, indicated by the movement of the red tonic piece, is in rising fourths: starting at C and moving to F, a perfect fourth, and then from F to Bb, a second perfect fourth. You can follow the major tetrachord shape being rotated on the Music Compass. The pattern of rising fourths continues from Bb to Eb, Eb to Ab, Ab to Db, and so forth. The sequence of tonal centers is known as the Circle of Fourths, and it goes through all twelve major keys. It ends back where it began, on C.

Harmonic Motion: Rising Fourths



Daily Music Practice: Why it Works

Years ago, Brendan showed me a version of this practice circle:

I’m not sure where this circle originated, but to this day, I have it up on the wall next to my drum kit. Whenever I lose motivation to practice I try and remind myself of this little circle and how everything is connected. It feels counterintuitive, but practicing when I don’t feel like it (even for just few minutes) can slowly build momentum and help regain confidence and motivation.

Part of the difficulty with establishing a practice routine is discovering a habit loop that works for you, and tweaking it as needed over time. Charles Duhigg, author of "The Power of Habit" describes how habits work as simply a cue -> routine -> reward pattern.

Photo credit: https://charlesduhigg.com/how-habits-work/

He explains that if we wish to modify or create habits for ourselves, it is helpful to observe the how and why of what we do. Similarly, it is helpful to observe and tweak the patterns we have in our daily practice routine.

To do this, sometimes I imagine that I’m running my own mini-laboratory. I use the margins of my music notebook to write "lab notes" about which parts of my routine seem interesting and useful, and which parts are becoming boring and useless. I try and run experiments to see what adjustments to the routine might work and what doesn’t work. For instance, if practice feels monotonous, maybe I can use a dice roll to decide what to work on. Or maybe I can try using a stopwatch to set timed intervals to help focus how time is spent and to create a sense of urgency.

A few years ago I was trying to do a lot of triplet exercises out of method books that I had since I first started playing drums. However, I found myself losing interest. I was bored practicing them and they seemed incomplete. So, I started to experiment with making my own triplet exercises. Because I had created them, I felt more motivated to test them out to see if they would be more successful than the previous exercises that felt so dull.

It helps to remember that if one goal of practice is to stay motivated to practice in the future, then it shouldn’t feel like a monolithic chore. Sometimes things work for a while, and then they don’t, and at that point it is probably time to switch things up and try something new.

It’s always a challenge to remember the long term goals and outcomes that come from short term activity. The impact of daily practice may not show up until weeks, months, or even years later. I believe staying motivated is the hardest part.

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