The bVII7 gets the leading tone from its b9. I.e. bVII7b9 is exactly the same chord as V7b9. That identity leads many (most?) of us to equate bVII7 and V7 in all alterations.
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com Christopher BJ Smith wrote: > > At 10:41 AM -0700 4/29/02, Phil Shaw wrote: > >I find the chord in question generally called bVII, > >but...in popular music I almost always see it as > >bVII7 (pronounced 'flat 7 7'), used as an alternative > >to V7. I.e. the progression bVII7-I is a common > >substitute for V7-I. > > > >Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com > > For jazz and pop music I agree with the analysis bVII, as all roman > numeral analysis in jazz and pop is referenced to the major scale, > unlike classical analysis. > > I would disagree with the function being a substitute for V7 (even > though it can take its place, the function changes), as it lacks a > leading tone. It IS, however, a perfectly good plagal chord, as it > contains the fourth degree of the key, and omits the leading tone, > which is how I always defined plagal chords, and so it can substitute > for the IV or IIm very easily. > > In C major, the bVII chord contains the characteristic note (Bb) from > the mixolydian mode, so I would say that it is borrowed from C mixo. > I would only say dorian if there were Eb's in the context. _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
