Tip #210 – Jazzy Progression with the Hindu Scale

For those that don’t recall the Hindu Scale, I suggest looking back at some music theory posts I have covered. But to bring you up to speed, the Hindu scale is one of the modes of the melodic minor scale – specifically, the fifth mode.

That being said, we can think of the Hindu scale as the dominant (or mixolydian) of the melodic minor scale. And what do you know! Take a look at what kind of chord is built on the root of the Hindu scale. A dominant-seventh chord.

But that isn’t the only dominant seventh chord of the scale. In fact, there are two that are found in it, creating this famous jazz progression:

I7 – bVII7

While this progression certainly sounds modal because of the scale as well as jazzy because of the dominant-seventh chords, it flows well because it is similar to the “backdoor” progression we have talked about before. Only now the tonic is an unstable dominant figure.

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Tip #208 – Jazzy Progressions with the III7 Chord

Oh no, here is another dominant chord.

Well, this isn’t as boring as it could be – trust me. While dominant chords appear often in music (as well as in these blog posts) there is something new to learn about them every time.

Typically, a dominant chord would resolve down to the chord a P5 below it. So in this case it would be III7 – vi like in this progression:

I – III7 – vi7 – Imaj7

But, another way that I found interesting that appears in jazz music is a resolution up a m2 interval to the predominant chord:

I – III7 – IVmaj7 – Imaj7

Here we see a motion opposite to that of the tritone substitution bII7 chord, but this time it is resolving up. Also, the root motion of III to IV is common in music, so the ear tunes in to the bass. Try it out!

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Tip #207 – Two Ways of Resolving Secondary Dominants

Seems a bit silly that we have gone this bar in the blog without mentioning secondary dominants as much as they should be. Nonetheless, they are common in music composition and deserved to be discussed.

A secondary dominant is the V7 of a chord besides I (usually the V7 / V ). The progression would be:

V7/V – V7 – I

And that is one way to resolve it. Simply use it like the nature of the V7 chord and resolve to the chord a P5 below it.

Another way, that is common in jazz, is to have it resolve to the minor version of itself. That progression would be:

V7/V – ii – V7 – I

Both the V7/V and ii have the same function of being the “predominant area” so it makes sense that they can lead into one another.

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Tip #205 – Progress by Voicing

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.
  • Etc.

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
  • Etc.

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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Tip #204 – Bluesy Vamp

Another vamp chord progression you can use is this:

I – IV7

Some of you might be thinking “but the IV chord isn’t usually a dominant-seventh chord… nor does it resolve to the I.”

Remember this from previous posts: in the twelve-bar blues progression the IV chord resolves more naturally to the I than the V does. Plus, the IV chord harmony appears more frequently than the V chord.

In addition, the IV7 chord provides the b3 scale degree. b3, which is in the blues scale.

Play around with it and see how it works!

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Tip #203 – Jazzy Way of Modulating to Predominant Key Area

Most music typically modulates from the tonic to the dominant, but that is not the only place it can go to.

Say that you wanted to go to the predominant (which is the fourth scale degree). That is like going from the key of C to the key of F.

One way that can be done is with an I – v7 – I7 – IV progression that utilizes the common ii – V7 formula found in jazz music:

Essentially, because the tonic chord hasn’t played the seventh, we are in ambiguous terms as to whether the triad expands to a major-seventh chord or dominant seventh chord. This works to our advantage that when we set up the ii – V motion, all we do is lower the leading tone down (making it mixolydian). Finally, the ii – V tonicizes the IV chord to become the new tonic and having the piece modulate to the subdominant area.

Try it out and see how you can vary this up.

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Tip #197 – Andalusian Cadence

Continuing with the idea of the lament bass, we have the chord progression of the Andalusian cadence.

Built off of the lament bass line in minor, it is harmonized like this:

i – bVII – bVI – V

These chords can also include sevens and other upper extensions for an expanded harmony, but the core triads and bass line motion is what matters.

Not only does the Andalusian cadence appear in classical and pop music, but you can find it in the regional styles of flamenco, Arabian, and Greek music.

Try coming up with a riff based on this progression.

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