Modes; what is the point?

[Lownote38]

Let's just chalk it up to a regional difference in the Nashville/Boston lingo. Stuff like "secondary dominant" or "V/V (five of five)" is pretty common 'jazz cat lingo' up here in Berklee land. I'm a theory nerd so if you only told me, "oh it's just the end of a phrase" that's not enough information for me, I want to know how does the phrase end; is it a ii-V or what? (So I'm prepared and know what to play, because my ear isn't very great.)

I sometimes have a hard time communicating with those guys, because I did not go to Berkleee. I am classically trained and sometimes use phrases like 'plagal cadence.'

In that case, I'd tell you the chords. I'm from NY by the way. I just ended up in Nashville. Honestly, I was born in Mass. I've never heard any jazz cats use the term Plagal cadence, or secondary dominant. Always in the classical world, though. We can chalk it up to learning from different people and playing with different people. It's not regional, though. If it was, I'd be talking in the Nashville number system.

 

[Mushroo]

I think I can re-phrase it in a way that will make more sense to someone from a jazz background:

Start with the diatonic progression Amin7 Dmin7 G7 CMaj7 and change the chords to A7 D7 G7 CMaj7. Whatever you want to call that: secondary dominants, V/V (five of five), chain cadence, whatever. It's a familiar sound to you, yes?

All semantics aside: Pop, rock, blues, R&B, and soul musicians like to do a similar thing, but coming at it from the other direction, resolving the phrase with a chain of IV-I cadences instead of a chain of V-I cadences. For example EbMaj BbMaj FMaj CMaj. I personally like to analyze this progression as IV/IV/IV (since V/V/V is already a familiar concept) but you can call it whatever.

Elton John perhaps said it best: "I guess that's why they call it The Blues."

 

[Papageno]

I think I can re-phrase it in a way that will make more sense to someone from a jazz background:

Start with the diatonic progression Amin7 Dmin7 G7 CMaj7 and change the chords to A7 D7 G7 CMaj7. Whatever you want to call that: secondary dominants, V/V (five of five), chain cadence, whatever. It's a familiar sound to you, yes?

All semantics aside: Pop, rock, blues, R&B, and soul musicians like to do a similar thing, but coming at it from the other direction, resolving the phrase with a chain of IV-I cadences instead of a chain of V-I cadences. For example EbMaj BbMaj FMaj CMaj. I personally like to analyze this progression as IV/IV/IV (since V/V/V is already a familiar concept) but you can call it whatever.

Elton John perhaps said it best: "I guess that's why they call it The Blues."

"Hey Joe" (progression: C G D A E) is a good example of the IV/IV/IV/IV/I progression.

 

[Groove Master]

For me that D (bVII) in the key of E Major is another way to "blues" the key and can replace easily the V7 (B7) and instead of using the #9 (D in this case) over the V7 it goes in the root of the chord. If we look closely at the notes in B7 and D there are a couple of common tones . Very common reharmonization in the pop/rock world using some blues harmony.

 

[12BitSlab]

I think I can re-phrase it in a way that will make more sense to someone from a jazz background:

Start with the diatonic progression Amin7 Dmin7 G7 CMaj7 and change the chords to A7 D7 G7 CMaj7. Whatever you want to call that: secondary dominants, V/V (five of five), chain cadence, whatever. It's a familiar sound to you, yes?

All semantics aside: Pop, rock, blues, R&B, and soul musicians like to do a similar thing, but coming at it from the other direction, resolving the phrase with a chain of IV-I cadences instead of a chain of V-I cadences. For example EbMaj BbMaj FMaj CMaj. I personally like to analyze this progression as IV/IV/IV (since V/V/V is already a familiar concept) but you can call it whatever.

Elton John perhaps said it best: "I guess that's why they call it The Blues."

A-7 D-7 G7 CMaj7. First 4 chords of “Fly Me To The Moon”. For a walking line, one can start on a high A and merely walk down the C major scale. Is it modal? Some say yes. Some say no. It does sound good, though.

 

[Papageno]

A-7 D-7 G7 CMaj7. First 4 chords of “Fly Me To The Moon”. For a walking line, one can start on a high A and merely walk down the C major scale. Is it modal? Some say yes. Some say no. It does sound good, though.

To me this is definitely tonal, as this descending bass line, places exactly the chord tones (roots and 7ths) on the strong beats (1, 3) of each measure. It is a salient feature of the cycle of 4th progression. Conversely, if the tune (with the same progression) is in 3/4, one can walk up the C major scale starting on A; this places the root on the strong beat (1) and the 3rd on the upbeat (3).