Feb 10, 2015 · The I7 is a "secondary dominant", the "V7 of the IV" chord. It gives a stronger feeling of "fourness" to the IV chord. Now, if you wanted to more strongly emphasize the subdominant (IV), you could do this: I-v7-IV-I7-IV-V7-I. The v7 (minor 7th chord built on the dominant) is the "ii7 of IV" (technically a "secondary supertonic"). This allows ...

Jul 27, 2017 · Very few chord borrowings are truly unconventional. In western harmony, literally every dominant chord, for example, has a named function in every key; in other words, given a key you can describe any dominant chord as being a primary dominant, a secondary dominant, or a tritone substitution of one of the two.

Dec 24, 2020 · The "7th" chord, also called dominant 7th, is the following set of notes (1, 3, 5, b7) relative to the Major scale. For example a C7 = (C, E, G, Bb). In any key a 7th chord occurs naturally on the 5th degree. If you take the notes (5, 7, 9, 11) or (5, 7, 2, 4) from the major scale of the key signature this is a 7th chord.

Apr 16, 2018 · I7->IV7 and I7-V7 are often encountered in older blues forms. Still it is the strong movement and subsequent resolution of I7->IV7 or I7-V7 which create the blues feel. It's also important to add that although the question focuses on chord progressions, the components of Blues Melody , as mentioned in the above citation, are also of great ...

Jun 7, 2019 · I'm confused about the particular sequence [G♭7, B♭m, C♭], however. I can see the I7 (G♭7) chord moving to the IV chord (C♭), but the iii chord in-between is stumping me. I'm picking up that the iii-IV move sounds nice, so from that angle I can see why the iii goes to IV, but the I7 going to the iii sounds kind of strange.

Jul 10, 2015 · The "I7" may be followed by a viio7/ii (#Idim7) for instance. In this case, voice leading is the primary consideration. The "I7" is merely preparation for the more dissonant diminished seventh. The "I7" forfeits its function and the viio7/ii becomes the functional chord (assuming it leads to ii).

Apr 24, 2023 · If we set aside terms "function" and "subdominant", and think about "purpose", your VIImaj7 chord provides non-dominant harmonic contrast to the tonic chord, and that is an important structural purpose of bars 5-6 of a 12 bar blues. You just fulfill that purpose with a chromatic chord.

But the V7 > I7 helps to reinforce that it actually is a tonic chord in the overall progression, because a V7 always has a dominant role, regardless of whether it resolves to a I7, Im7, Imaj7, I6, or whatever. Another way to look at it, is that you are constructing a I IV V, except instead of major chords, you're doing chord substitution on each.

May 21, 2020 · This chord, which differs from i7 in that it has a major triad and minor seventh (as opposed to i7's minor triad with minor seventh), is less stable than i7 and really "wants" to resolve to iv. So, while no rule is set in stone, the chord I7 usually functions as a secondary dominant rather than a landing point.

Aug 13, 2022 · The image above (from Korean composer Byung Dong Paik's Theory of Harmonics, page 139) shows progressions 7th chords(I7), and inversion The book explains that such a process on the second image can...