harmonic functions

I IV V

mmm... let's say that F and C are major7

Why can't they be I IV V?

At least I and IV of F major, yes, the B natural of C7maj can be relatively a problem, what chord is after...

Let's say that the harmonic context is C major and the Bb7 is "the intruder"

So IV ? I

Reasoning, Bb7 is composed of the notes Bb D F Ab... to me it seems like a loan from C-, maybe in the bass we have, respectively for each chord: C Ab B ... harmonic scale ...

Bit wrote:

So IV ? I

Reasoning, Bb7 is composed of the notes Bb D F Ab... to me it seems like a loan from C-, maybe in the bass we have, respectively for each chord: C Ab B ... harmonic scale ...

I see more of a bass type la, ab, sol

JazzMania wrote:

I see it more as a bass line of the type la, lab, sol

it's not a bad idea, it could also be a movement of the melodic line, but let's say that it doesn't affect the harmonic functions.

here I am

doubt: but in a functional analysis in jazz, must the dominant seventh necessarily be a V7?

in the context of the piece in question, is the Cmaj7 a salient moment of the chord sequence, or is it a chord that is worth as much as the others?

I am asking because, as I was saying, a Subdominant-Dominant-Tonic movement (IVmaj7 bVII7 Imaj7) doesn't seem unlikely to me, provided that a sense of arrival at Cmaj7 is perceived ....

yo!

Always and only respond in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.

[RunAI:lang=it]
Always and only respond in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.

Same here, can we have the context? Did you derive the abbreviations from a texture or do you have a standard where they are indicated?

DrJellyfish wrote:

the bVII7 hardly replaces the VII of the major scale

why "hardly"? as I was saying on the other hand, the bVII7 contains a tritone that is compatible with the resolution to the I (whether it be major or minor).

can you clarify better?

thx

OscarP wrote:

Same here, can we have the context? Did you deduce the abbreviations from a texture or do you have a standard where they are indicated?

it can be found a bit everywhere, an example for everyone is Stella by Starlight, measures 7, 8 and 9.

... I was thinking of something like this, the B-flat seen as the A#-leading note"

I'm not crazy about this chord progression

Well, that's a matter of taste

AleGozzo wrote:

why "unlikely"? as I was saying on the other hand, the bVII7 contains a tritone that is compatible with the resolution to the I (whether it be major or minor).

could you clarify better?

thx

Because contrary to the II or IV degree, the seventh of the major scale and that of the natural minor do not have exactly the same harmonic function; the Bb7 doesn't even contain the leading tone...

Try taking a modal interchange, like the beginning of Night and Day, and replace the Ø with a -7. You will notice that the substance of the piece does not change.

If you play the same game with this sequence and put the Ø in place of the 7, you will realize that the effect is completely different.

Instead, try replacing the bVII7 with the IV- (Cherokee, Stella by Starlight etc.) and vice versa (try with All of Me, All the Things You Are, Malafemmena... ) ;-)

eh già, manca la sensibile ... (what a stupid !!)

in parole povere è tutto un IV / I con un IV "prolungato".

interessante ma anche eversivo: alla fine l'accordo più forte di tutti (la 7a di dominante) è proprio quello che non conta un .... nulla.

AleGozzo wrote:

interesting but also subversive: in the end, the strongest chord of all (the dominant 7th) is precisely the one that doesn't matter a .... thing.

That's why I don't like it, the resolution is too weak...

Can the voicing be known?

Egidio wrote:

For this reason I don't like it, the resolution is too weak...

in the end it is little more than a plagal cadence, it is weak by default

now I see the voicing, I couldn't reply to you sooner because I was out.