on 4/30/02 2:02 PM, Christopher BJ Smith at [EMAIL PROTECTED] wrote: > Actually, that's not quite right, as the bVII works perfectly well as > a plagal chord without any extensions whatsoever (which is the chord > under discussion), and the bVII7 and bVIImaj7 likewise.
A stylish progression in the 60's and early 70's, which supports the subdominant nature of the bVII is bVII - V - I, like in Jimmy Webb's "By the Time I Get To Phoenix". >I don't think > most of us will automatically hear a flat 9 on a regular bVII7. Flat > 9 on a tritone substitute (Db7 in the key of C) likewise sounds a bit > false to me, even though the diminished chord scale could be > identical to G7b9. I think the b9s in both of these examples confuse the issue if you're trying to go directly to the tonic, not that it can't and probably hasn't been done. To my ear the b9 most normally wants to resolve down a half step so each example here would tend to lead further afield harmonically. Bb7b9 moving to C9 (key of C) is kinda cool, maybe in a bluesy setting. Don Hart _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
