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  • Tipos de Dominantes

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    1. Dominant chords resolve to the tonic chord, such as G7 resolving to C major. Secondary dominants resolve to chords other than the tonic. 2. Secondary dominants can resolve to any chord in the key, such as A7 resolving to D minor or C7 resolving to F major. 3. Backdoor dominants function as substitute dominants with a subdominant resolution, such as Bb7 resolving to C major through F minor. This progression is similar to a IV-V-I progression.

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    Tipos de dominantes

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    1. Dominant chords resolve to the tonic chord, such as G7 resolving to C major. Secondary dominants resolve to chords other than the tonic. 2. Secondary dominants can resolve to any chord in the key, such as A7 resolving to D minor or C7 resolving to F major. 3. Backdoor dominants function as substitute dominants with a subdominant resolution, such as Bb7 resolving to C major through F minor. This progression is similar to a IV-V-I progression.

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    10 views1 page

    Tipos de Dominantes

    Uploaded by

    ab45352
    1. Dominant chords resolve to the tonic chord, such as G7 resolving to C major. Secondary dominants resolve to chords other than the tonic. 2. Secondary dominants can resolve to any chord in the key, such as A7 resolving to D minor or C7 resolving to F major. 3. Backdoor dominants function as substitute dominants with a subdominant resolution, such as Bb7 resolving to C major through F minor. This progression is similar to a IV-V-I progression.

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    of 1

    https://jenslarsen.

    nl/tag/backdoor-dominant-chord/
    1 Dominants resolving to a Tonic V => I G7 (9,13) --> Cmaj7(9) G7 (b9,b13) --> Cm7

    2 Dominantes secundarios [V] => acorde de la tonalidad diferente del I

    Dom 2rio
    V7/II I7 V7/IV C7 Fmaj7
    Cmaj7 [A7] Dm7 G7/13 Cmaj7(9) II7 V7/V D7 G7
    III7 V7/VII E7 Bm7b5
    V7/V VI7 V7/II A7 Dm7
    [D7(13)] Dm7 G7(9) Cmaj7 VII7 V7/III B7 Em7

    V7/IV
    Cmaj7 [C7(13)] Fmaj7

    3 Dominantes con funcion subdominante Esta progresion suena similar a la anterior


    Cmaj7 C7(13) Fmaj7 Bb7(13) Cmaj7 Cmaj7 C7(13) Fmaj7 Fm6/9 Cmaj7 So the Bb7, which is often referred to as the backdoor dominant resolves like an Fm6 to Cmaj7 so it is a subdominant chord
    In terms of improvising then mostly you would play it as a Lydian dominant, which here means using F melodic minor,
    subV/I again a connection with IVm in the key.
    4 Dominantes Sustitutos Dm7(9) Db7(9) Cmaj7

    I susV7/II
    Cmaj7 Eb7(9) Dm7(9) G7 Cmaj7

    5 Dominantes derivados de acordes disminuidos con funcion subdominante

    Eb7 is in fact an inversion of another chord, namely a #IV double diminished


    you see this chord in Angel Eyes and My Foolish Heart

    In the key of G major, the #IV is C#


    The #IV diminished would be C# E G Bb
    So the #IV double diminished is C# Eb G Bb which is then played with the Eb in the bass

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