5/19/2023 0 Comments F minor chord![]() Secondary dominant chords ALWAYS contain a note outside of the home key, but still can be explained by their relationship to the key. So tl dr if I was analyzing this the way I was taught during my jazz perf major, I would say that the G7 is acting as a Secondary Dominant chord. So this is why it has a strong energy to resolve to the F#. ![]() In this case the 3rd and 7th for G7 are B and F. ![]() Tri-tone substitutions work because if you substitute a dominant 7th chord with another dom 7th a tri-tone away, the 3rd and the 7th (already a tritone interval) just flip. The F minor chord is composed of a triad of notes that blend together to give it its plaintive, wailing sound. A major interval (4 half steps between the 5th and 3rd). Therefore, to build it we need F (1), A (3) and C (5): This is due to the fact that a minor chord is made up of 2 third intervals: A minor interval (3 half steps between the 3rd and root). The notes in any dominant chord that give it it's strong quality of needing-to-resolve are the 3rd and the 7th. The F minor chord is a minor triad with formula 1 3 5. Its easiest to think of such chords in do-based. This yields an augmented 6th from G up to E-sharp, hence the name of the chord. Because of this, most classical composers spelled the F-natural as E-sharp. The dominant of the dominant, (in this case the 5th note of the F# scale) is C#, and your C#7 resolves strongly to F#7, which in turn resolves strongly to Bmin. The simplest resolution of such a chord would be to a dominant (V) triad, not a 7th chord, so the F-natural would resolve up to F-sharp. The G7 is acting as a tri-tone substitution of C#7, which would be a secondary dominant chord, or a "five of five".į#7 is the dominant of Bmin, being the 5th note in the Bmin scale, and having a strong tendency to resolve. Another way to think about it, from a jazz theory perspective instead of The Professors excellent classical theory approach:
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