C and F#

Comment

Comment by ahmadjawadi on April 6, 2009 at 6:21pm

Happy to find you on the youbube.com,
I visited your site there, it is very nice.
Have a nice time
Ahmad

Comment by Chris Alpiar on March 21, 2009 at 5:31pm

Nicely done Pete! Yea there is so much like this to dig into when you start getting into jazz type of harmony. Another thought is that if you take the M3 and b7 (the interval is a tri-tone, the same distance as the two chords you have there) they spell out both your dominant chords you mention, C and a tritone apart F#. You can then play with circle of fifths with dominants, playing root in left hand and M3 and b7 in right, as you move through the fifths in your left hand (i.e. C F Bb Eb etc etc) then the voice-leading of the right hand stays constant structure and descends chromatically. And at any time you can switch out the circle of fifths bass motion for chromatic bass motion obviously and its just fine to. Which leads to the idea of being able to superimpose any chromatic Dom7 chord for a circle of fifth type of progression (like ii V I, or iii vi ii V I or similar pattern) and slide in a chromatic chord instead. So in the key of C, iii vi ii V I is Emin7 Amin7 Dmin7 G7 CMaj7 - which can easily be swapped for Emin7 Eb7#11 Dmin7 Db7#11 CMaj7 or something - of course there is a little leap in the last example of some other substitutions but its all similar to your concept here ;-)