In music theory, we are taught a certain way that chords progress by – following one by another based on their Roman numeral analysis. Such as:
- V7 goes to I
- Progression follow the Circle Of Fifths, I-IV-viio-iii-vi-ii-V-I
- IVmaj7 can act as a predominant area or a Plagal cadence figure.
Instead of thinking about chords by their Roman numerals, think about their voicings (in relation to the key or outside of it).
For example a dominant-seventh chord. You would think of that as the fifth scale degree to resolve to the root. So, G7 to C.
But, the function of the domain-seventh chord doesn’t always have to be the V7. It can be the:
- Tritone Substitute, bII7 – I , G7 to F#
- Dorian Vamp, V7 – ii , G7 to Dmin
- Bluesy Vamp, IV7 – I, G7 to D
- I7 chord in a 12-Bar Blues, I7 – V7 – IV7 – I7 , G7 to D7 to C7 to G7
And now look! You have more possibilities than you can ever think of because you valued the chord voicing more than the Roman numerals in regard to the key.
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