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By thinking of this blues progression in Roman numerals, a backup band or rhythm section could be instructed by a bandleader to play the chord progression in any key. For example, if the bandleader asked the band to play this chord progression in the key of B ♭ major, the chords would be B ♭-B ♭-B ♭-B ♭, E ♭-E ♭-B ♭-B ♭, F-E ...
As previously stated, a dominant seventh is a four-note chord combining a major chord and a minor seventh. For example, the C7 dominant seventh chord adds B ♭ to the C-major chord (C,E,G). The naive chord (C,E,G,B ♭) spans six frets from fret 3 to fret 8; [50] such seventh chords "contain some pretty serious stretches in the left hand". [47]
Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the [diatonic] scale can have no tones in common. All other chords [in the diatonic scale] have common tones.
IV-V-I-vi chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV– ♭ VII–IV: I–IV– ♭ VII–IV. 3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I with tritone substitution (♭ II7 instead of V7) ii– ♭ II –I: 3: Major ii-V-I with ♭ III + as dominant ...
A typical sequence of a jazz or rock song in the key of C major might indicate a chord progression such as C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord.
Both the parallel and the counter parallel have two notes in common with the tonic (Am and C share C & E; Em and C share E & G). A chord should be analysed as a Tcp rather than Dp or sP particularly at cadential points, for example at an interrupted cadence , where it substitutes the tonic.
In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7" [11]) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means that they usually support a melody originally designed for the tonic (I) chord.
For example, in the progression Dm 7 –G 7 –C M7, substituting D ♭ 7 for G 7 produces the downward movement of D–D ♭ –C in the roots of the chords, typically played by the bass. This also reinforces the downward movement of the thirds and sevenths of the chords in the progression (in this case, F/C to F/C ♭ to E/B).
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