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How's this for a rant?:
In the key of C, Fm is a dominant that resolves back to C like Bb7 would.
In the key of F minor, C is a dominant that resolves back to Fm like C7 would.
Are Fm and C both dominant to one another AND tonic to one another? Is this not a little odd?
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10-26-2020 12:54 PM
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I don't find it odd. It just depends on which direction the voices are moving.
Fm to C downward movement.
C to Fm upward movement.
The ceiling is 8' above the floor.
The floor is also 8' below the ceiling.
.
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But the ceiling can't work as a floor to the floor nor the floor as the ceiling to a ceiling
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Here is a thread truly worth ignoring.
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It is true that f minor triad resolves to C Major triad.
It is also true that C Major triad resolves to f minor triad.
so what?
"resolves to" is not equivalent "dominant of".
For example subdominant also resolves to tonic.
Btw your sample will not work with C7 and also not with fm7 (it works indeed with fm6) and here is why: neither fm triad and C triad has no tension in itself, when you hear any of them as a single chord out of context they lead nowhere, instead resting points. So their tonal function only can be feel and interpreted in context.
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Originally Posted by lawson-stone
Last edited by alez; 10-26-2020 at 02:03 PM.
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Originally Posted by Gabor
Last edited by alez; 10-26-2020 at 02:19 PM.
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Fm7 is just Bb7sus (in that context).
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Okay, I thought that was pretty unique. Can you name a different pair of chords that work both ways like these?
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Have a look at a 'Tonnetz' - you might enjoy the way you can navigate harmony using Neo-Riemannian theory.
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Not sure I understand. Fm is IVm in the key of c, that’s a subdominant function.
C is the V, dominant, in Fm
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Just like Bdim can function as rootless Bb7b9, Fmin7 can function as a rootless Bb7sus. Compare the chord tones, just an inversion.
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The top post is an interesting observation but doesn’t seem terribly odd. Cmajor and Fminor are obviously different keys, so triads will have different functions in them. It doesn’t undermine the value of the concepts of tonic, dominant and subdominant, which is what the title of this thread implies.
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after you have firmly established diatonic harmonic relationships of chord cycles and primary and secondary resolution cycles..
and then begin to integrate other keys and their harmonic functions via substitutions and devices such as ..bIII7..bVi7 ..bII7..bV7 into the mix you begin to see/hear
that any and every note / chord can be used in many harmonic (and melodic) functions..and that chord "names" become a block to going beyond what is
possible
thus CMaj7..could be an altered AbMaj7 or altered Eb13..and all the preceding harmonic cycles that would lead to use those chords in a functional way.
this kind of study takes alot of time and experimentation to get under your fingers and use in improvisational ways.
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Originally Posted by alez
You were aware that I am the Legitimate Topic Police, right? Right? Anybody home? Just kidding!....
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Turns out that sometimes nuts are beans.
WUT
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Originally Posted by alez
like Bb7 would.
In the key of F minor, C is a dominant that resolves back to Fm like C7 would.
I'm a nice guy, just a little confused.
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Originally Posted by christianm77
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It's about the tonal center. Take this simple 2 chord pair
4/4 Dm | C | Dm C | Dm ||
4/4 C | Dm | C Dm | C ||
Example one is in Dm and the second in C.
Context can alter the relationship.
I believe that is what you are describing.
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Originally Posted by alez
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Cashew nuts, man. What is up with those?
BTW don't eat too many. There's are some ... horrific .. stories.
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Originally Posted by christianm77
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Don’t google it
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Originally Posted by christianm77
Chief Xian aTunde Adjuah (Christian Scott)
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