Progression (E7-A7-D7-G7) Play (help·info) which often appears in the bridge of jazz standards. The V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7] leads back to C major (I) Play (help·info) but is itself indefinite in key.
Ragtime progression's origin in voice leading: II itself is the product of a 5-6 replacement over IV in IV-V-I. "Such a replacement originates purely in voice-leading, but," the chord above IV (in C: F-A-D) is a first inversion II chord.Play (help·info)
Movement in the ragtime progression. Note that the third and seventh descend to the seventh and third of the next chord by descending half-step, creating two chromatic lines.
Most commonly found in its four chord version (thus the parentheses). Play (help·info) This may be perceived as a, "harder, bouncier sounding progression," than the diatonic vi-ii-V7-I, in C: Am-Dm-G7-C.Play (help·info) The three chord version (II-V-I) is, "related to the cadential progression IV-V-I...in which the V is tonicized and stabilized by means of II with a raised third."
^ abJonas, Oswald (1982) Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.116. Trans. John Rothgeb. ISBN 0-582-28227-6.
^Fahey, John (1970). Charley Patton, p.45. London: Studio Vista. Cited in van der Merwe (1989).