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Originally Posted by Snarf |
Wow that is a nice site. The most important things I found on it were:
"Diatonic root movement of a 3rd is therefore seen as a weak progression. Chord III is often used as a substitute for chord I.
In jazz the II chord is more common than the IV chord as a subdominant, but it also functions very commonly as a lead in to the dominant V chord. IV is very common as a subdominant in blues.
The dominant quality of a chord is usually defined by thetritone (flattened 5th) interval which creates what is traditionally thought of as a dissonance or a need to resolve to a chord that sounds more at rest.
In practice any chord that is not a tonic chord can be preceded by a secondary dominant.
It is almost impossible to provide a complete set of rules regarding what sounds good or bad. The following are conventionally considered to be wrong notes (sometimes called avoid notes), unless used as passing notes.
A 4th over any major chord (unless it is an 11th or sus 4 see ex. 4e)
A major 3rd on a minor chord
A minor 3rd (#9th) or minor 7th on a major 7th chord
A root note as a sustained note over a major 7th chord
A b9th on a major 7 or minor chord
A b6th on a major 7 or minor chord
A major 7th on a minor 7th or (dominant) 7th chord
These rules may not apply to certain ornaments
A bebop scale is created by adding either:
a major 7th to a Mixolydian mode
a major 3rd to a Dorian mode
a #5th or b6th to a tonic scale
In other words a Dorian mode functions purely as a scale by itself, not a relative of the major that starts on the second degree. A good exercise is to write out and learn all the modes in all keys as relative and parallel."
I'm not quite sure I understand the 'rule' of not sustaining a root over a major 7 chord. Can someone help me out on this one?
The walking bass page wass good.
