Download - Passing Diminished and the bVII chord
CŒ„Š7 C©º7 D‹7 D©º7 E‹7 E¨º7 D‹7 D¨º7
FŒ„Š7 F©º7 C/G F7 F©º7 C7/G
CŒ„Š7 B¨7 CŒ„Š7 F‹7 B¨7 CŒ„Š7
B¨ F C FŒ„Š7 B¨Œ„Š7 C
CŒ„Š7 B¨7(#11) CŒ„Š7 B¨9(#11)
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Diminished chords are often used as passing chords between chords I, ii and iii in either direction.Imaj7
The #IVº7 chord is often used between chords IV and a 2nd inversion I chord
#Iº7 IIm7 #IIº7 IIIm7 bIIIº7 IIm7 bIIº7
Passing Diminished [email protected]
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IVmaj7 #IVº7 I IV7 #IVº7 I7
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The bVII7 chord (borrowed from the parallel minor) is sometimes used as a resolution to I
The bVII major triad, particularly when in proximity to a major IV chord is a very common rock deviceand can be seen as being drawn from the parallel mixolydian mode.
Imaj7 bVII7 Imaj7 IVm7
The bVII7 chord may also be preceded by a related II.We could call this the 'Aeolian ii-V' as it is drawn from the Aeolian mode and is quite common.
bVII7 Imaj7
The bVII7 chord
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The bVII7 chord when it includes a #11 (and/or 9) is a common jazz device,not borrowed from parallel minor but Mixolydian b13 (a melodic minor mode)
bVII IV I IVmaj7 bVIImaj7 I
The bVII chord from Mixolydian
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Imaj7 bVII7(#11) Imaj7 bVII9(#11)
The bVII7(#11)
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
