Our last progression is borrowed from Joe Henderson's Isotope, and it departs from the previous progressions in a significant way. Let me play the progression. One, two, a one, two, three, four. [MUSIC] One more time. [MUSIC] Let me unpack that progression that is completely different from what we've encountered thus far. First of all, there are some interesting, let me start at the end with the turnaround progression. Our typical turnaround progression that we've encountered so far was based on a 3-6-2-5 progression. [MUSIC] Three, six, two, five. Then we've talked about ways to change the quality of the underlying chords. Instead of minor, we have a dominant. [MUSIC] Here is something very interesting, when you examine the root motion of the turn around, [MUSIC] It forms symmetrical progression, forms a minor third cycle and Henderson basically uses the same chord qualities- [MUSIC] Using the symmetrical progression. [SOUND] [MUSIC] There's a technical term for the progression equal division of the octave because the octave [SOUND] is subdivided into four equal parts. [MUSIC] [MUSIC] That specific progression is a hallmark of the more contemporary harmonic progressions and harmonic experiments. That's one thing. Next thing, I would like to point out some neighboring harmonies. For instance, the way the structural chords are foreshadowed, for instance, the chord on F7 in measure 5. [MUSIC] Is anticipated by a chord that is half step below. [MUSIC] E7 [SOUND] of dominant quality. Now we have that kind of motion from the leading tone. Leading tone E and quite very parsimonious voice reading. Lower the chromatic neighbor anticipating the structural harmonies. It happens in other places, as well. For instance, in measure 7, the C7 chord is also anticipated with the B7 chord, a lower neighbor. They're also instances of the tritone substitutions. For instance, one way of explaining the function of the E flat 7 chord in measure 2 is to think about that chord In terms of tritone substitutions. It's tritone substitutions would have been [SOUND] A7 and then you can see a nice cycle of descending fifths unfolding in a progression. [MUSIC] A, D, G, C, going to F. But it's like a nice little twist instead of the tonic cycle, Henderson decided to do the tritone substitution or another way of explaining would be to think of it as an upper chromatic neighbor of D7. Just to hide the obvious characteristics. There's some other very interesting thing when you listen to it, the rhythmic metric distribution of this chord is not as common and as natural as we've encountered in other chord progressions. Listen to it one more time, one, two, a one, two, three, four. [MUSIC] Something not quite right. So that's another very interesting twist in the metric placement of these chords and the final thing that I would like to point out is the change of chord qualities in measure eight, nine, and ten. Instead of [SOUND], we have suspended chords. [MUSIC] This progression combines the best of two worlds. We have what's called tertian harmonies, with E flat 7, D7, traditional harmonies and we have these model progressions, model chords. And that marriage of modality and tonality is perfectly utilized in that chord. One more thing I wanted to mention, that even though on the surface this chord progression is highly intricate and very complicate. But one thing that stays constant with blues are the structural chords that we've talked about in lecture one, the structural chords that control the unfolding of individual phrases. In measure 1 through 4 we still have a C7 that is hierarchic, and more important that other chords. And then in measure five, we get to our sub-dominant. In measure 7, we get to our tonic. And then in measure 9, if we think of it as a tritone sup of D, we get our traditional chord progress. But the surface, capitalizing on a equal subdivision of the octave, change of chord qualities from dominant to suspended, and these very modern chord progressions, anticipation of structural chords by minor second arrival. C7 to F, B7 to C. Let me play that progression one more time, so we can now hear it with proper theoretical understanding. One, two, one, two, three, four. [MUSIC]