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You two need a room
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08-14-2018 06:57 AM
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put up your dukes jabroni
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Originally Posted by ragman1
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Originally Posted by ragman1
Sorry I just wanted to ask in this part where you got the F#m7b5/Bb13 from? The Bb is a backdoor dominant yes? But where is the F# taken from? It looks like the diatonic Fmaj7 with a flat 2nd?
It was from this part of your list:
- Or put two chords to a bar
F#m7b5/Bb13 - Bm7b5/E7 - Am7/6
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By whose laws do you play the piano?
The pleasure of my ears. - Debussy
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Babaluma -
Hey, you're back, after all this time (sob)...
where you got the F#m7b5/Bb13 from
Probably:
F#m7b5: sub for FM7 from C Lydian
Bb7: sub for Bm7b5 (sub for G7) from C Aeolian
At least, I think so. Others may have other ideas
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Originally Posted by ragman1
I actually realised what I said of the Bb, it can't be a back door dominant as that is normally a Major 7? I think your solutions make more sense and I will try them out
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Imaj7 IImin7 IIImin7 IVmaj7 V7 IV-7 VII-7b5... Diatonic chords
Cmaj7 Dmin.7 Emin.7 Fmaj7 G7 Amin.7 B-7b5
Imin7 II-7b5 bIIImaj7 IVmin7 Vmin7 bVImaj7 bVII7.....Borrowing from Relative Minor (Aeolian)
Amin.7 B-7b5 Cmaj7 Dmin.7 Emin.7 Fmaj7 G7
Imin7 II-7 bIIIma7 IV7 Vmi7 VI-7b5 bVIIma7 .....Borrowing from Relative Dorian Min
Dmin.7 Emin.7 Fmaj7 G7 Amin.7 B-7b5 Cmaj7
Imaj7 II7 IIImi7 #IV-7b5 Vma7 VImi7 bVII-7 .....Borrowing from Relative Lydian Maj.
Fmaj7 G7 Amin.7 B-7b5 Cmaj7 Dmin.7 Emin.7
You can keep expanding the borrowing from Relative relationships
Then use parallel ...
Imin7 II-7b5 bIIIma7 IVmin7 Vmin7 bVIma7 bVII7 ...borrowing from Parallel Min.
Cmin7 D-7b5 Ebma7 Fmin7 Gmi7 Abma7 Bb7
Imin7 IImi7 bIIIma7 IV7 Vmi7 VI-7b5 bVIIma7 ....borrowing from Parallel Dorian Min.
Cmi7 Dmi7 Ebma7 Fmi7 G7 A-7b5 Bbma7
You can keep expanding the parallel relations
Now you can start using subs.... Dominants, Related II- or related V7s.... subs also includes using Chord patterns, Anychord can be a Target, and you can substitute a chord patterns. Chord Patterns can be common Diatonic chord patterns and also common Modal common chord patterns
You can also use the Functional Sub organization.... like Matt was talking about.
Somewhat a simple rule of thumb.... any target... can change chord quality or chord type.
Ex.
B-7b5 E7#9 / A-7 D7#9 / Gma69.... the target is Gmaj, so you can change the target, Gmaj7 to Gmin7 or G13 etc..
And the reverse... A min. chord pattern can go to a Maj or Dom target
The same rule of thumb works with Subs also.... any sub can have a different chord quality on top the same root.
Ex. G7 Db7 Cma7..... G7 Dbma7 Cma7.... G7 Db-9 Cma7 etc...
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Originally Posted by Babaluma
But not all substitutions for the V chord are dominants...
This can get very, very complicated and I'd advise you to google it. Apart from it letting me off the hook :-)
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Many possibilities... basic starting source...
Key of Cmaj.
From or borrowed from Parallel Min.... which starts with Cmaj becoming Cmin. aeolian.
The diatonic IV chord of Cmin is F-7 and the diatonic VII chord is bVII7 or Bb7.... so F-7 Bb7 / Cmin7. The F-7 and the Bb7 are from, borrowed from the Parallel Minor of C-. You could have... F-7 Bb7 / Cmaj7
The F-7 Bb7 are usually heard of as Sub Dominant Minor chords... meaning they are subdominant chords from Parallel Min.
With Jazz we usually use the that functional term and use Modal Interchange, rather than Borrowing... (Don't worry about Modal Interchange, it takes a while)
So You can also think of the new Parallel Minor Cmin7 Aeolian as becoming the VI-7 or Functional Sub of Imaj7 or Ebmaj7
So Cmaj7 becomes C-7, through Parallel Minor Borrowing or Modal Interchange.
Then that C-7 becomes VI-7 of new Relative Maj... Ebma7.....
So F-7 Bb7 / Ebmaj7 which becomes... II- V7 of the Relative Major (Ebma7) ... of the Parallel Minor of the original Target chord of Cma7
And all the chords can become different types of subs...... Check out Cole Porter tunes, they all use some form of Relative or Parallel harmony.
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Originally Posted by ragman1
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Originally Posted by Reg
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Hey chord heads.. I'm a keyboardist and sometimes I sub in a D dominant over a C dominant omitted 5th.. To me.. It sounds pretty avant garde if played in the 1 tonic minor going to a iv minor..(of course u will have to omit a couple of notes to get this right on guitar).. Blessings All*
Replacement rosewood bridge base for 1977 Gibson...
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