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  1. #1

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    The chords for those measures/bars are (in relation to the tonic chord) IV-7/bVII7|III-7/VI7|, right?

    Would it be overthinking or too far-fetched if I thought about this progression as a backdoor cadence? (III-7 as a sub for Imaj7 and having tonic function)

    Probably doesn't make much of a difference harmonically compared to seeing it just as a chromatic sequence of II/Vs but to me it seems to make a difference in phrasing and creating lines.

    What do you think?
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    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.

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  3. #2

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    No it certainly would not IMO

    I regard Am7 as an inversion of F anyway....

    So you play

    Bbm7 Eb7 | F/A D7 | Abm7 Db7 | Gm7 | C7 | F |

    Which to me is coming from

    Bbm6 | F/A | Abo7 | Gm7 | C7 | F

    Which is a thing

    BTW this backdoor progression does also come up in other types of Blues....

  4. #3

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    Been busy so my apologies for my late reply. Thanks for chiming in Christian - much appreciated!
    -------------------------------------------------------------------------------------------------------------------
    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.