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Root movement by fifth in a cycle uses a slightly different contrapuntal combination - it’s a suspension chain which means the 7ths stay unresolved until we hit a cadence
(interesting thing js that jazz players often observe this distinction even now.)
in practice this progression is contrapuntally derived from a 7-6 suspension chain which itself is a development of a simple parallel harmonisation of a descending bass.
This is exactly backwards from how we think of it in root land. We think of the 7-6 chain as coming from fourthwise root movement. (It’s common in rhythm guitar.)
this probably sounds like gobbledygook- I want to do a video of this stuff and how it relates to the mick Goodrick VLA cycles…
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Chief Xian aTunde Adjuah (Christian Scott)
Today, 12:32 AM in The Players