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Old 04-28-2013, 05:31 PM   #61
cdgraves
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Join Date: Jan 2013
Quote:
Originally Posted by Captaincranky
The Bb in a C7 chord would actually allude to the key of F.


Not really. It's stated as a bIII IV turnaround. It's too weak rhythmically to sound like a cadential dominant.

This thing is just a chord shape being moved around on extremely traditional, predictable roots in an extremely normal rhythm. The fact that they all have b7 makes it a bit more interesting, but none of them are functional dominants, and so it doesn't bear much on the harmony. Absent voice leading for all those b7s, root movement is the only thing that guides the ear.
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Old 04-28-2013, 05:42 PM   #62
Captaincranky
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Join Date: Sep 2011
Quote:
Originally Posted by cdgraves
Not really. It's stated as a bIII IV turnaround. It's too weak rhythmically to sound like a cadential dominant.
I surely didn't mean the whole thing was in F, just that C7 chord. You emphasized the Bb, and an F scale was my hypothetical solution for the duration of that change. (At least if you intended to play the Bb in the solo, otherwise C major Am / C major pent all work for the duration of the change. (I'm sure I'm not telling you anything you don't know, just trying to tentatively put us on the same page).

Quote:
Originally Posted by cdgraves
This thing is just a chord shape being moved around on extremely traditional, predictable roots in an extremely normal rhythm. The fact that they all have b7 makes it a bit more interesting, but none of them are functional dominants, and so it doesn't bear much on the harmony. Absent voice leading for all those b7s, root movement is the only thing that guides the ear.
When you mention "turnaround", I've been subbing Bm7, for the D chord all along.

Last edited by Captaincranky : 04-28-2013 at 05:46 PM.
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