Posted by Glen on June 12, 2001 at 07:35:46:
In Reply to: Jazz Chord Progressions posted by Clifton on June 11, 2001 at 17:48:10:
It has to do w/ resolving tensions.
You already have a grasp of V7-I resolution. As it happens, that resolution can be used anywhere. So you could make this translation:
I-III7-vi-II7= (tonic)-(V7 of vi)-(vi)-(II7)
From the E7 you are just moving thru standard "circle of fifths" resolutions. You could do that all day until you end up in the key you want to resolve in:
and you've got a load of tensions and areas where you get to wander out-of-key. Done in a reasonable context it can add interest to an otherwise humdrum "doo-wop" progression.
: I have not been playing the Bass very long but, I learn very quickly. I have a question that I hope that someone will be able to answer. I have been playing/studying this Jazz Chord Progression of I-III7-vi-II7, (C-E7-Am7-D7)in the key of 'C.' The notes of this Progression are: (C) "C,G" (E7) "G#,E" (Am7) "A,E" (D7) "F#,D". Now, I know that the I-IV-V are Major, in a Major scale & the ii-iii-vi are minor in a Major scale with the vii chord being diminished. And the III-VI-VII are Major in a minor scale and the i-iv-v are minor in a minor scale with the ii chord being diminished.
: My question is: "Where does the "III7 & II7" come from?"
: In the Major scale the "iii & ii" are minor and in the minor scale the "ii" is diminished and the "III" is Major but, it is Eb!!
: Are there some rules that allow this to occur?
: Am I missing something? :^)
: Stay LOW, Live LOW & Play LOW,
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