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 …

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 …

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 …

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 …

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 …

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 …

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 …

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, …

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 …

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 …