 The Clarinet BBoard
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Author: wjk
Date: 2002-09-05 20:07
The standard progression (key of C) Dmin7 to G7 to Cmaj7 seems to resolve nicely to an A or A7 chord. Why is this? What is the role of the A based chords in this progression? What other chords would sound good after the C maj 7? Thanks!!!
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Author: mike
Date: 2002-09-05 20:52
I wouldn't call it a resolution, exactly, as Cmaj7 doesn't have that much tension to require a resolution.
If you're going into A, the dominant is E7, so you may be hearing the E and B as leading into A, thought its usually the third and seventh (in this case G# and D) that provide the tension. A Cmaj7(add 9) might be better, as it also has the D, and will sound somehwhat dissonanat. Another possibility is to keep going and go from Cmaj7 to Fmaj7, as in "All the Things you Are".
Another progression is the I-vi-ii-V7-I (C, A-7, D-7, G7, C). Think of the opening of "Mr Sandman" for that one. So that might also be why you think A sounds so good. And its fairly common for tunes in a minor key to shift into the relative major before resolving back to the minor.
A lot of times, you'll see something like Cmaj7 to Cmin7 (then to F7 to Bbmaj7). ("How High the Moon" or "Afternoon in Paris" changes.)
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Author: Vytas
Date: 2002-09-05 21:06
>What is the role of the A based chords in this progression?<
NONE! The 6th degree of C major scale is A, but if you think chords, it is A minor, not A major. Why do you want to resolve Cmaj7 into anything? This chord is the end of progression and does not required to be resolved.
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Author: diz
Date: 2002-09-05 23:57
Second Year Harmony - William Lovelock - has a wonderful section involving modulations into "unusual" keys. In this (which is in a tabulated format) he lists several pivot chords and suggestions to make these kinds of modulations work - as opposed to doing this with a hiccup - think of Bolero where the orchestra just changes from C major into A major with a bump. Not that this is wrong, and in fact, Ravel uses this sort of modulation to starteling effect.
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Author: JMcAulay
Date: 2002-09-06 04:43
wjk enquired and I respond:
Why is this? Because you like it. However, as mike says, a natural C7 to A is *not* a resolution. C is the tonic, and you have just had a terminal cadence. Closing with the C is just fine, no resolution required.
What is the role of the A based chords in this progression? None in particular, as Vytas says, unless you are modulating from key of C to D. In this case, the A is the dominant where D is the tonic, so the A (or more especially if you add the dim7) will resolve nicely to D. You might also try "tickling" the A chord by moving the third of the chord from min to maj, which could get you to key of D even better.
What other chords would sound good after the C maj 7? Under contemporary preferences, pretty much anything you want. It depends on where you are headed or the effect you are trying to create. But perhaps the best chord to follow the C would be no chord at all. Just end things right there.
I am reluctant to suggest any book on music theory which I have not read, so I won't. However, you might seek comments on John L. Clough's *Basic Harmonic Progressions: A Self-Instruction Program*. The book costs about fifty bucks and could be something to help you get into this sort of stuff a bit deeper. I think the Walter Piston Harmony book is grand, but "getting into it" alone might not be at all easy.
Regards,
John
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Author: JMcAulay
Date: 2002-09-06 04:57
Well, I was going to delete the above but must have accidentally clicked "Post" while selecting everything. But maYbe it's better than nothing. Hope it helps.
diz: Lovelock is Australian, yes?
Regards,
John
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Author: diz
Date: 2002-09-06 06:48
No, Lovelock (Dr William) - the late Dr William was British, but taught in Australia at one stage
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Author: diz
Date: 2002-09-09 00:45
John - Lovelock's three harmony texts (First, Second and Third Year Harmony) were written as university level texts - not school level.
Even though they commence with the basics - they are rather academic. One needs a good teacher to guide one through them, as they examples issued are not answered. However, they have excelent explanations of the full compliment of harmonic resources up to Chromatic Harmony.
Thesee texts do not cover modern "2nd Viennese School" harmonies or beyond. They are invaluable, in my opinion, as they also deal with useage and effect as well has 3 part writting and writting for vocal and instrumental groups (not just 4 part hymnal style harmonies).
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Author: JMcAulay
Date: 2002-09-09 15:58
diz: I'm aware that they are University-level texts. But while I've heard of them (although I did not realize there were three in the series), I've never had the opportunity to review them.
My first post-secondary instructor of theory/harmony taught from her own notes; we did not use a text. 'Way back then, she did not believe there was a satisfactory text which -- in a presentable way -- covered everything she wanted to teach. I believe she was an excellent teacher. Unfortunately, she alienated many in the faculty by her attitudes, which they felt were simply too bizarre. Such as the occasion when one of the vocal teachers promoted "Opera Night," a stupendous presentation by his students and those of others. Unfortunately, this conflicted with a local civic club's sponsorship of Arthur Smith and his Crackerjacks (popularizers of "The Steel Guitar Rag"). She attended the Smith concert, later saying she would rather hear professional country music than amateur opera. She was not contracted to return for the following school year.
Regards,
John
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