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It is probably a question more related to Jazz, anyway,
in a chord progression of this type:
F, Bb7, C
how would you define the function of the Bb7?
There are several options and schools of thought, I would like to hear other opinions.
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But are F and C without a seventh?
By seventh, do you mean the dominant one, i.e., Bb7?
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Fa La Do Mi, Sib Re Fa Lab, Do Mi Sol Si.
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damn jazz, you can't understand anything
just throwing this out there to get the discussion started:
the only dominant 7th is Bb, so it could be a IV V I (where the V7 is replaced by a bVII7)
the tritone of Bb7 (Ab / Re) could go to Sol / Mi..... so a tritone substitution process similar to the more common bII7 / I
at the same time, if the only dominant is Bb7, there could be a deceptive cadence II (F) / V of Eb / VI of Eb. all with many modal alterations.
3rd option, my favorite: in jazz you add the sevenths and whatever mode you feel like and the functions go to hell (but it sounds good anyway)
ps
dear Jelly, when you have some time to kill don't forget your old friend who hasn't learned anything significant about jazz yet, but would really like to
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AleGozzo wrote:dear Jelly, when you have some time to spare don't forget your old friend who hasn't learned anything significant about jazz yet, but would really like to
cut it out. rather let's make an appointment in the analogous post on the gez forum, so we don't scatter. :-)
i posted here too to hear a possible opinion from a "classical" point of view, but...
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Can we have the context? Did you deduce the abbreviations from a texture or do you have a standard where they are indicated?
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I'm not crazy about this chord progression
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I agree with Egidio, looking at the fundamentals it could also be a I IV V of F major, somewhat polluted by the sevenths that tend to defunctionalize (as I think AleGozzo said).
After Cmaj7, what chord follows?
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Hi Natan! We were continuing in the Jazz forum.
