Posted by huskybones on June 22, 2001 at 00:47:46:
In Reply to: Re: ...and now, the punchline... posted by Skeeter on June 16, 2001 at 12:46:59:
: : : Hi,
: : : 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,
: : : Clifton
: : - - - - - - - - - - - - - - - - - - - - - - -
: : "Boy, I'm sure glad I play by ear!"
: : -Bob
: I'm glad you do to, that means more REAL paying gigs for me!$$$$$$
I think "chord substitution" is the "rule" you're looking for.
It's not unusual to move from chord to chord with Dominant(7th) in 5 to 1 motion. In your example the E7 is the substitute 5th chord for the Am7.
Another example from "Autumn Leaves":
--Chords in the verse
Am7 D7 GMaj7 CMaj7 F#m7b5 B7 Em
It's in the key of A minor (Relative minor to Gmaj). Notice that the roots all move in fourths. They follow the scale so they're perfect fourths exept C - F#. All the chords are diatonic (in key) except the B7 that would normally be Bm7 but the D# sets up a stronger pull to the last chord. Play the B chord both ways and I think you'll see why the substitution works.
It could also be a modulation where the key will change totally. I'd have to look at the rest of the chart.
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