|
·
If we add one more chord to the II-V-I pattern we can
set up an endless loop (key of G this time):
/ A-7 / D7 / GΔ7 / E7 / A-7 / D7 / GΔ7 /
E7... etc (Example
[4.1])
·
Just as the D chord leads to the G chord by jumping down
a fifth (or up a fourth, same thing), so E jumps a fifth
to A. You may come across this relationship between
chords referred to as the cycle of fifths.
·
We know that we may be able to use a substitute wherever
we see a 7 chord. Can you work out the substitutes for
D7 and E7? The answer is Ab7 and Bb7 respectively.
·
In
Example [4.2]
a substitute sequence is given, this time using tritones.
·
Let's loosen up and slot in more chromatic seventh
shells. We can really make this little looping
progression harmonically mobile (Example [4.3]).
Notice that the root notes now make a nice walking
bassline.
·
Example [4.4]
is a variation on the same theme, but this time the
right hand also plays, just one note - the third - of
each chord. Try it - it's simple but effective and
sounds more complicated than it really is.
·
Experiment with more notes in the right hand. Use some
of the more far-out added notes of each 7 or substituted
7 chord. Try 5b, 5#, 9, 9b, 9#, 11#, 13, 13b. Most of
these will work!
·
A point worth bearing in mind is that the symbol
notation for extended seventh series chords (and this
applies not only to dominants but to major and minor
sevenths too) sometimes omits the 7, since it is assumed
to be part of the chord by default. Thus G7 13 might be
given as G13. BbΔ7 9 may be represented as BbΔ9. A-7
11 is often encountered as A-11.
·
Often the written chord changes that a pianist works
from will be in the most stripped-down form, with no
embellishments except the dominant 7. It's expected
that the pianist will fill out these so-called
vanilla changes with added tones and voicings of his
or her own. An excellent source of standard song
vanilla changes has been compiled by
Ralph Patt.
 |
