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Dominant chords are considered to sound unstable in classical music harmony contexts, and so in a classical piece, these chords often resolve down a perfect fifth or up a perfect fourth (e.g. G 7 tends to resolve onto chords based on C, such as C suspended 4 or C major ninth).
The ii, V and I remain, but in between are other chords (highlighted in yellow and blue) from the major thirds cycle centered around each I. Preceding the first chord of each major thirds cycle is its V chord. An earlier Coltrane piece, "Lazy Bird", also features two tonal centers a major third apart in its A section.
This is possible because the ♭ II 7 has the same third and seventh as the V 7, but inverted; for example, the third and seventh of G 7 are B and F, while the third and seventh of D ♭ 7 are F and C ♭, which is enharmonic to B. Performing this substitution (in this case, changing Dm 7 –G 7 –C maj7 to Dm 7 –D ♭ 7 –C maj7) creates ...
The most basic three-chord progressions of Western harmony have only major chords. In each key, three chords are designated with the Roman numerals (of musical notation): The tonic (I), the subdominant (IV), and the dominant (V). While the chords of each three-chord progression are numbered (I, IV, and V), they appear in other orders. [f] [18]
A minor major seventh chord, or minor/major seventh chord (also known as the Hitchcock Chord) is a seventh chord composed of a root, minor third, perfect fifth, and major seventh (1, ♭ 3, 5, and 7). It can be viewed as a minor triad with an additional major seventh. When using popular-music symbols, it is denoted by e.g. m (M7).
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
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This technique is based on the fact that the third and seventh degrees of a dominant chord are enharmonically the same as the seventh and third degrees of the dominant chord a tritone away. For example, B and F, the third and seventh of a G7 chord, are enharmonic equivalents of C ♭ and F, the seventh and third of a D ♭ 7 chord.