Introduction
A Constant Structure is a chord progression where chords of the same quality but with different root notes are played consecutively.
- The chords can be any quality – Maj7, m7, V7, or other
- They generally follow:
- A fixed interval root pattern (often in intervals of 3rds, but can really move by any interval); or
- A diatonic interval root pattern (where the root traces out an arpeggio of a particular chord – see below)
- The movement of the melody
- You can use any voicing – but keeping the same voicing against all the chords
Below are some examples of a Constant Structure Chord Progressions.
| Minor Chord | F#m7 | Em7 | Dm7 | Cm7 |
| Major Chord | F#Maj7 | EMaj7 | DMaj7 | CMaj7 |
| Dominant Chord | F#7 | E7 | D7 | C7 |
Notice how the root notes of this Constant Structure trace out the CMaj7 (B G E C) arpeggio, and the final chord we finish on is the CMaj7 chord.
Constant Structures – Symmetry & Structure
The symmetry in chord quality & root movement gives the progression a nice structured sound while creating a shifting tonal centre which sounds non-functional; that is, it sounds like there is no fixed tonal centre or key. The chord progression isn’t moving towards some ultimate tonic chord. It could finish on any chord and sound complete. This is because of the symmetry in chord quality and root movement. These chords are not found in any one key and neither sounds ‘more finished’ than any other.
You could, of course, analyse this progression functionally and argue that you’re changing key every bar. But that’s not really what it sounds like, it sounds like there is NO fixed and ultimate key or tonic chord – it sounds non-functional.
Reharmonization
Using constant structures is a great way to reharmonize a song because it’s very structurally strong and give it a nice Modern Jazz/non-functional sound (we will be discussing Reharmonization and Modern Jazz in the next two modules).
Jazz Piano History
Constant Structures were popularised by Herbie Hancock and Bill Evans in many of their reharmonizations and compositions. And it follows the general trend of Modern Jazz moving further and further away from functional harmony after the 1950’s to more non-functional harmony. But more on that in a future module.
Have a Listen to
- Tell Me a Bedtime Story ~ Herbie Hancock
- Stolen Moments ~ Oliver Nelson
- Time Remembered ~ Bill Evans