Backdoor progressions
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- Опубліковано 17 чер 2024
- www.patreon.com/MichaelKeithson
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Here's another common non diatonic device used commonly in jazz to lead us back to our tonic chord. The backdoor progression or ii-V is a simple premise to implement and can add some really nice colour to harmonic progressions.
Video chapters:
00:00 Intro
00:14 Backdoor Dominant
00:43 Non-diatonic ii-Vs
02:03 Backdoor ii-V
03:15 Why does it work?
05:15 Dominant7 ❤️ Diminished 7
08:25 A little aside...
10:57 Modal Interchange
12:05 Backdoor use examples
16:13 BIG ANNOUNCEMENT!
Backdoor Dominant, no Diddy.
😂😂😂
No you didn't Diddy 🤔?
No Doubt.
@@stuffnuns 😁
Seriously, you have a gift for teaching. It's amazing how you can make everything look simple.
Thanks man, really appreciate it. Glad you enjoyed it 👍
Is it worth going to music school when this info exists? This pedagogic talent is beyond what most higher education professors can provide.
Ah, thanks man. Really appreciate it, not sure it's true but appreciate it nonetheless. 🙏❤️
You have to go to music school for the parties! 🎉
I agree. It’s a really clear explanation.
@@jessrow1275 🙏
I am a guitar player but I prefer a pianist like you explaining me these concepts. It's really a nice lesson.
Cheers Alain, glad you enjoyed the lesson. Seems there's a lot of you guitarists who like learning theory stuff from pianists! Good to have you here! 👍
As a bass player/composer that doesn't play keys and solely mucks around with midi, this is gold.
Awesome! Good to know I've got some bass players in here too! Thanks for the comment, glad you enjoyed the video 👍
@@michaelkeithsonbass and double bass player here as well
@@pgrvloik Nice! I love that most of my videos are somewhat instrument neutral and I get all you riff raff in here too! 😉😂
@@michaelkeithson ...another bass player as well, though my secondary instrument is guitar, so I enjoy making sense of all that chordal goodness on the other 6 stringer. Great video, by the way. Subscribed and waiting for more music-nerd gems like this!
@@Pete_Rocc Nice, thanks for the sub. Doing my best to knock out some more music-nerd gems 👍
I’m a classically trained pianist and music theory nerd…also play guitar and bass, mainly in the rock genre, but I’m always looking for ways to expand my musical vocabulary. I’ve never heard this concept explained so clearly! You truly have a gift, and your playing was a pleasure to listen to. Thank you.
🙏 Thanks man, really appreciate the nice comment. Cheers.
Just clicked and straight to the good stuff. No annoying intros or early self advertising. New sub here! Thanks for your hard work!
Cheers Gus, appreciate your comment and glad you found me! 👍
Lol same...just no nonsense..BOOM information!
Hi Michael, I cannot thank you enough for breaking things down sooooo well and - even for me - understandable and "usable" ... I really wish I found you years earlier ... because I often (still) struggle with "WHAT? ... HOW?" ... but with your explanationa analyses and "try it this or that way" some of the odd puzzle pieces fall into place ... 🥰
Hey Manfred! Thanks for the nice comment. It's really nice hear you've found some value in my videos and appreciate what I'm creating. Thanks for taking the time to comment 🙏
Nice job. As to the Bm7-E7b9-C, and "Why don't we see it," I think it is associated with resolving to Am (which is relative). If you resolve E7b9 to C6 by adding the A, the solutuion is much stronger. My two cents anyway.
You are a good teacher. I feel as if we are having a conversation...
Part of the fun of watching and listening to your excellent videos is watching the 'like' count keep building as it plays.
❤️
Wow.. didnt realize diminished chords really put in the work!
😂 Yep, gotta love those diminished chords holding everything together!
Honestly, I've been watching many UA-cam channels and this is one of the best channels.
Amazing video.
Thanks for sharing it.
🙏 Thanks Ruben, I really appreciate your comment. Thanks for watching 👍
I had 6 semesters of Music Theory. This is how it should be taught. 👍
🙏 Cheers Markus, glad you enjoyed it.
Just woke up and having my coffee when your video came out. Ngl, I got “wait, what?!?” moments. A lot. 🤣🤣
Thank you for sharing the knowledge man. Cheers
😂 Cheers Danny! Glad you enjoyed it and appreciate the comment 👍
I feel like the best way to explain why the flat seven dominant works is because it’s really a minor plagal cadence. Borrowing from a parallel minor gives you plenty of harmonic nuance.
I look forward to all your videos.
Ah, thanks man. Appreciate you being here. 🙏
man THANK YOU. you explained all of this so well
My guess regarding why the E7 to C isn't as strong of a cadence as the others is because the third of C (which is E) is what gives the chord its color, so its presence in the previous chord makes it more similar to it than the others (less tension prior to the resolution). That's perhaps also why the dominant third (in this case, E7), especially with a #9, can even be used as a substitution for the I chord in, for example, a I vi ii V progression. So, instead of C Am7 Dm7 G7, you get E7#9 Am7 Dm7 G7, which sounds quite cool.
I also feel like that since it's already so uncommon, my brain just automatically assumes the Bm7-E7b9 is going to end up at Am in some circle of 5ths progression (and im going to assume that most people feel similarly) so since there's already an established "path" for the vii7-IIIb9-... it would be difficult for a new use to become commonplace simply because people will chose more familiar options like backdoor or tritone sub
edit: I saw another comment point this out, and mentioned that you can resolve E7 to C6 instead of C so you get that A which makes it a little more satisfying
@@nxyuu Sure, but the reason that works is because C6 is an inversion of Am7.
The same could be said of G7 though.
@@sus-kupp How so? G7 is GBDF.
I agree. The lack of a progression to the third of the scale (E) weakens the resolution. The resolutions are to the 1st and 5th notes of the scale, and that by parallel fourths (hidden parallel fifth to boot!), creating a perfect fifth that is meeting the existing third. Try that alone and compare it to the other three options, which do not start with any notes in common with the resolving chord. It "works" but is less interesting, though maybe useful as a deceptive cadence.
Clear and concise, well done!
It's so beautiful to hear the resolutions!
Fuck yes another video!
Your channel is becoming my new favorite place to go and further my understanding of super nerdy harmony stuff 😇
I’d also just like to add that every video of yours I watch I end up sitting down and coming up with new ideas or exploring different voicings/progressions. Brilliant, thank you!
Thanks man, that's really nice to hear. I appreciate you taking the time to share the love. It's great to know that the vids are inspiring you to play and explore. Cheers.
Another banger. Awesome video. Thanks so much for what you do.
Cheers Don! You're very welcome. I appreciate you coming back for more! 👍
Good bless you Michael
It really fascinates me how different you can look at those chords and why they work, i arrived there and understood them just as the 2-5 of the parallel minor key.😌
You're bringing us along nicely. Many thanks 👁️
Cheers Mike! 👍
Just the right amount of confused and intrigued after that. Excellent content
Ha! Great comment Brad! Thanks for watching 👍
Another excellent lesson Michel! Thank you!
🙏 Thanks Paul! I appreciate your kind comment, thanks for watching.
As a guitarist this was one of this was an amazing lesson!
Cheers Christian, glad you enjoyed it 👍
Excellent video - thank you!
Cheers Jeff, glad you enjoyed it! 👍
Ok EVERYONE SHARE THIS ON THEIR NEWS FEED. LETS GET MICHAEL TO 30K THIS WEEKEND
Ha! Thanks. I appreciate the support and you sharing the love. Would be great to see that 30k come that quickly but I'm not holding out much hope! Appreciate you and your encouragement. Thanks 🙏
the best teacher! Thanks Michael🥇
🙏😳 Thank you! I appreciate your kind words.
Great content! Thank you so much!
Thanks Gregor! Glad you liked the video 👍
Brilliantly explained again. Thankyou
Cheers Dan 🙏. Appreciate you man 👍
Gonna have to watch this a couple more times to grok everything you’re sharing, but I wanted to show my gratitude for the work you put into the presentation.
The visuals of the keyboard, the chord names, and the color highlight when the chord is played, really helped me to understand how one chord flows to another.
I’ve been trying to step up my songwriting, and this is exactly what I needed to learn, ‘cause I’ve been playing with 2-5 variations, dim7’s, and aug5’s and how they feel as they resolve. My theory is a little weak, so, here’s this video to help me. !!!
The tension and release, the sound of one path and resolution, compared with another, gives me cues of how to play with these changes to tell the emotional story inside a song. This lesson is filled with pearls.
Thank you., Mr. Keithson.
Mitchel! Thank you so much for your generous comment 🙏. I'm really glad to hear that you're getting some value from my videos. Cheers
Man, you're good. Tons of stuff to learn - and your explanation is brilliant - as usual. Thanks!
Thanks Frank, always appreciate the support and encouragement! 🙏
Thank you Michael, your lessons are very educational and entertaining at the same time.👌Great fun to watch and learn.
Thanks Bijan, that's really nice to hear. I appreciate you watching and leaving a comment. Thank you 🙏
Thank you so much.
It's uncanny how I want to learn about some concept I don't know, and the day after that you upload a video of it, it's amazing
Your wish is my command Leòn!! 😉
Very thought provoking in it's mechanics of 2 elements moving up, moving down and how it draws the ear to the resolution. I have to rewind and listen a lot but, with the slow repetition the fog starts to clear. Also I really appreciate the way you segue into "tangents" like Modal Interchange here referring back to your previous videoes on those subjects to help build a concrete understanding of how these things are ...homogeneous(?)
Thanks Richard, I appreciate your comment. Glad you're enjoying the vibe! 👍
Fantastic - best music theory on YT. So much insight and practical application. You are bossing it! 🙂
Thank you 🙏 Appreciate the kind comment.
Great stuff, as always, Michael! 👍
Cheers 🙏 Thanks for watching!
Michael, this video was recommended to me by UA-cam, I really enjoyed this content and it has given me some inspiration and new ideas. Thank you.
Peter! Praise to the UA-cam algorithm. I'm glad it brought you here too!! Glad you enjoyed it and that it's inspired you play. Happy exploring!!
Hey Michael, your lessons are always top notch! I've already shared your videos with many of my musician friends, you communicate concept and the ideas around it so clearly 😄
Thanks man! Really appreciate your kind comment and appreciate you sharing the love and videos around. 🙏
Just another great lesson/video plenty of gems in this video. Thanks doesn’t seems like enough, I sincerely appreciate the knowledge
Thank you 🙏. And I sincerely appreciate the kind comment. It's really rewarding to know that other people are finding value in what I'm creating.
Big fan of all your work, can't recommend you enough. Every video is an "Ahhh!" moment for me. Thanks, Michael!
🙏 Thanks Donovan, appreciate your comment. Glad you enjoyed this one too 👍
Another clearly explained concept. You make it look and sound easier than it is!😂😂Well done and thanks.
Ha! Thanks. It's not that hard really, theoretically. You got this 👊
Thank you for the clear to the point good stuff
No problem, thanks for watching 👍🏼
Wow! Thank you sir... You're the youtubers I've been searching for ally life 🎉🎉🎉🎉
I'm glad you found me too!! Thanks for being here. Glad you enjoyed the video 👍
Love it. Never thought if using the iiidim instead of a I chord ❤
Hey Corentin, really appreciate the Patreon sub. Looking forward to connecting with people over there 🙏
@@michaelkeithson Don't forget to speak out at each video, there are always people who are interested but forget to do so! I can't wait to see how it all turns out!
Great info packed video as always. Thanks.
Thanks Eric, hope it wasn't too much to digest! Thanks for watching 👍
@@michaelkeithson no, not at all. I'm already familiar with a lot of what you talked about but it just helps clear up stuff and reinforce even more. And the chord progression examples are pure gold.
Ace stuff again. Thank you.
Cheers Steve 👍
Hey Buddy! Your Teaching Is Exceptional.
You Deserve Five Stars....God Bless You
Cheers Jonathan, really appreciate your kind comment. Glad you enjoyed it 🙏
When I learned about the minor 4 chord I just started using it all the time as a cheat code. Thanks for giving me part 2 to that so I can abuse it even more! I found while playing around that the Imaj7 chord sounds really nice too instead of the ii chord. ie: Ebmaj7 (instead of Fm7) Bb7 C if playing in C. It's fun picking up new lego pieces to build with even if I'm still playing about with duplo at my level
Thanks for the comment! Yeah, that Ebmaj7 works nicely and it's all part of that modal interchange/borrowed chords that works so nicely. 👍
I absolutely love these videos. Even as a guitar player who cant read or write music (surprise surprise) I feel like your explanations and humor make it so easy for me to understand musical concepts I can hear but can't quite understand yet. Thanks for all your effort you put into these videos man. Spot fuckin on
🙏 Thanks for the comment man, really nice to hear that. Cheers
Music is math, math is music. Thank you. Great teacher - great teaching!
👍 You're very welcome Brad. Thanks for the comment 🙏
You are extremely underrated 😭😭😭❤️❤️I absolutely love your work,thankyou for everything
Thanks Yashasvi! You are very welcome. I really appreciate the kind words, thanks for sharing the love! ❤️
Not for long. Young man's coming up. And I'm rapt for him
@@personalwatching9312 ❤
@6:30 your takin' it to the streets.
Brilliant thanks 🙏
Brilliantly explained.
🙏 Thank you.
Newer subscriber here. Love and appreciate your channel. The diminished chord placed before the backdoor ii-V is a nice touch.
Cheers Curtis! Thanks for the sub 👍
Great video Michael. I love the graphics display as well.
Ie: Modal interchange C Major and C Natural Minor.
Thanks John! Appreciate the feedback, glad you enjoyed the video 👍
Great. The graphics too are special.
🙏 Thanks
Dreamy. So glad I watched this video.
I'm glad you watched it too! 😉👍
Thanks! I saw some nice examples of Stevie Wonder's backdoor progressions before but this helped a lot to understand better what's going on and why it works.
Yeah, Stevie loves a backdoor progression 👍 Glad you found the video helpful.
wonderful, as always. There are many videos on this subjet, but this is outstanding others! Steve Wonder was using a lot those backdoor dominants ;) Thanks a lot
Cheers Fabio, always appreciate your support and encouragement. Yeah, Stevie loves a good backdoor progression!
@@michaelkeithson I think I've subscribed you channel when it has like 600 people, it's great seeing today it have more than 25k 👍 keep on rockin'
@@astrolappio Ah, that's so cool. So you're one of the OGs then! 600-25k, let's see if we can get to 100k!!
We see this E7 going to C at the Jazz standard "ALONE TOGETHER".
In the key of Dm, at measure 9, 10 and 11 we have:
|B-7 E7| G-7 C7|Fmaj7|
I didn't know how to explain and understand this part of the tune. Now I know, thanks to you!!❤
Thanks Marcel, appreciate the comment, thanks for watching 👍
Great explanation
🙏👍🎹🎵
5:33 really got me
Amazing video!!!
Thank you!! 🙏
Maybe the Bm7 - E7b9 - C resolution should be called a relative 2 5 1 or relative dominant as it resolves to Am7 which is the relative of C major.
Or perhaps it makes sense to call these by their modal function, this one being an Aeolian 2 5. Anyway, they all sound cool and I’m gonna put them all to work! Thanks for a brilliant video!
great video. to your aside question, i can't think of an example of that "side door" cadence either, though now i'll be on the lookout. my guess about its rarity is that it strongly suggests a move to the relative minor... in C, Bm7-E7 is the ii-V to Am. that relative minor has its own host of associations and complications, and the two common tones from the triads Am and CMaj weaken the surprise element. that said, i don't recall ever thinking about this, so yay.
Thanks!
As always thanks sir
🙏 You are very welcome!
great video. a lot of the concepts you talk about here are discussed further by Barry Harris on his study called the family of four dominants.
Thanks man, glad you enjoyed it. Thanks for sharing 👍
Very nice! Subscribed! Greets from Germany 👌
Thanks Andreas! Appreciate the comment and the sub 👍
God you inspire me to just get started with my channel eventually. hopefully when school work starts to die down a bit :).
Hey Elijah! I look forward to seeing it when it starts. I wish I'd just pulled my finger out and started sooner. Don't regret the missed time. Remember, the likely hood is that no-one's watching those first few videos so you don't need them to be perfect, just get started and try to make each video better than the last. Just learning how to film and light can take a while to get good at so don't lose time putting it off, you have to think about the long game. The sooner you start, the sooner you'll reach your destination. 😉
@@michaelkeithson thank you for this. Will definitely take on your advice
i’d love to see you try out a new series where you break down famous chord progressions. Easy by Mac Ayres has some really jazzy chords and i’d love to learn why the chords work and so on
Thanks for the suggestion. 👍
Disclaimer! I wrote this comment before you started talking about it on the video! Still, my fingers hurt from typing it, so I’m not deleting all that hard work!
If you build a diminished off of the 2nd, 4th, flat 6 or 7th degrees of a scale, you can lower *_any_* of the notes by a half step and all of them will resolve to the tonic. If we play an F diminished whilst in the key of C we can lower the F to E to give us a “median dominant” that ideally resolves to the relative minor root, but also does a good job of taking us to the tonic. Lowering the Ab by half a tone takes us to the diatonic dominant. Similarly, lowering the B to Bb takes us to the backdoor dominant and lowering the D to Db gives us the tritone substitution. Similarly going up from that diminished by a perfect fifth to (for example) C Diminished allows us to do the same thing with some really nice altered dominants all resolving to the tonic of C.
Probably nothing new to you, but just stuff I discovered while I was mucking around...
Very interesting, thanks mate.
🤣😂 It's always useful to hear something from more than one perspective. Thanks for sharing!
This is gold
Thank you 🙏. Glad you enjoyed it.
Excellent ❤❤❤
Thanks Tristan!!
I'm taking a shot at the question in the "little aside" using the idea of voice leading. Maybe it's because in the fourth alternative we don't get any semi-tone movement around the third of the tonic chord, whereas we do in the other three? Instead we get some nice chromatic movement down to the fifth of the I chord, but maybe that's just not as satisfying without the movement around the third. Plus, the III7 chord has already pre-resolved the third of I, unless you make it III7b9, which is really just bringing it back closer to the other progressions that seem to work better to begin with. Another issue: maybe we associate a root descending by thirds with the beginning and not the ending of a chord progression.
Cheers for the comment Hunter and sharing your views and insight. I like the way you're thinking about it. I definitely think there's something about the fact that the E (or third of the tonic) is already present so it feels like a pretty tame resolution. Thanks for sharing 🙏
as far as the "little aside" goes... I think the E7 to C sounds weaker than the others is because the E is the Tonic in the sub and the third in the C... without any half step movement in the 3rd of the C, it weakens it a lot
Thanks Gregg! Yeah, I think you're right, also because the E7 is already the dominant chord with a diatonic resolution (Am) it has a stronger pull to the A than the C so it's not as pleasing.
My two cents as to why E7 to C isn't as strong as the other resolutions is that E7 to C has weak root movement. Strong root movement is when the bass note moves by seconds, fourths, or fifths. Perfect, backdoor, and tritone sub cafences all have strong root movement while E7 has weak movement. E7/B has a much stronger pull to C in my opinion. As others have noted, E7 to C6 also has a nicer sounding resolution than with a regular C triad since it is effectively a perfect cadence (E7 to Am7/C).
I had the same question about the E7 resolving to C. I think I have an answer. A secondary dominant is expected to resolve to the major or minor chord a fourth up. B♭7 and D♭7 are not secondary dominants for any chord in C major, but E7 is the secondary dominant for Am. So when we hear E7 in C major, we expect an Am to follow. Going to C (or C6) may work, but it feels less complete than going to Am, so maybe a little disappointing? I think that is the important difference between E7 and both B♭7 and D♭7.
One popular four-chord progression these days is C, E7, F, Fm. There the E7 does not go to Am. This is called a deceptive cadence. Am is expected, and the A note is there, along with the C, but instead of the Am chord, we get F as a surprise, but it does not end there. I think that is important - it isn't a resolution - so it then could go to G or G7 to resolve to C (pretty typical) or one might go the negative harmony route and use Fm6 or Dm7♭5 instead of G7, or just Fm (a nice intermediary for plagal resolution).
For me, the B♭7 resolving to C has a kind of Picardy third feel to it, probably because one would expect E♭ (or E♭6 or Cm) so the E♮ brightens it up. The D♭7 fits perfectly between Dm7 and Cmaj7, and it has the same tritone as G7, so that works very well.
I should add that the negative harmony chord of G7 is exactly a rootless B♭7(9) chord.
We need a website or app where you can write chord progression and then add and tweak with all those options to test things out
You can resolve the E7b9 into C6 chord which is the more typical tonic chord in older jazz.
Thanks Jon! Appreciate the comment 👍 Thanks for watching
Hope you explain blackadder chord someday!
🔥🔥🔥
Cheers Adam, appreciate you watching 🙏
I love your videos! Your explanations are so crystal clear. Small correction, the cadence V-I that you referred to is called an authentic cadence. However, there are perfect authentic cadences, but that’s a qualifier. The type of cadence itself is called authentic.
Thanks man, glad you're enjoying the videos. Thanks for the correction, I wasn't aware of that, good to know 👍
@@michaelkeithson You’re among the best music educators on UA-cam, and I learn quite a bit from you, especially when it comes to the nuts and bolts of functional harmony, which, in case you couldn’t already tell, is my jam! Haha! I’m sorry that our first interaction is me making a correction, but I’d much rather offer a minor correction to someone who otherwise knows their shit really well, than try to educate someone who has no clue what they’re talking about, and there are no shortage of people like that on here. I concede that I don’t know whether or not ‘perfect cadence’ has come into the vernacular over the years, it may have, in which case, I wouldn’t object to the use of it, but I think I’d still object to it coming into use in the first place. Don’t get me started on 6/9 chords! Haha. Anyway, you’re great and I love what you do. Thank you for the excellent content!
@@TheAdultInTheRoom74 No worries man, we're all eternal students and I'm fully aware that I don't know everything so it's good to have some course corrections when it's required.
Pleased to hear you're enjoying the content, especially as you seem to be someone who already has a good grasp on a lot of this stuff. Cheers
Question at 10:34. E7b9 resolves so strongly to the relative minor (A) that going to C sounds weak. Using Bm7b5 to E7b9 makes the resolution in C stronger. But in my opinion, the root movement of a downward third doesn't sound very strong as a resolution. For some reason, when I hear the III chord, I expect to go away from the tonic, resolving to the tonic sounds kind of like giving up, just when the adventure starts!
Great video, Michael!!! 👍👍👍👍👍👍
I agree. Root movement E to C doesn’t sound strong as a resolution and also for me I just really associate E7 in C as subdominant functioning chord, moving away not towards C..usually to Am or F. Still, it could work as a ‘softer’ resolution in the right kind of song and the fact that it is rarely used might help to give a more original, distinctive sound.
Hey Chris, thanks for the comment. Agreed. I think because the E7 already has a strong diatonic resolution to Am moving to the C doesn't feel nearly as strong. Also because we already have the note E as a strong chord tone of the E7 we miss that resolution onto the E as the 3rd of the C chord in the way that the others (G7, Db7 and Bb7) all have. Thanks for sharing 👍
👍
Thx, 🙏🏻
You are very welcome!
Couldn't help but notice that the E7b9 that we don't see much, is the tritone sub for the V in a backdoor ii-V
Yeah, it's that diminished chord connection - they're all related. 👍
@10:54 I literally have asked that question for years, why don't composers like to resolve tension chords by going up or down a major/minor third, when it works. Maybe not resolving it to the tonic since like you said it doesn't sound as strong, but you can definitely use it to lead to other chords in the composition, giving it a different sound that very few composers use.
the perfect video for pridemonth!
🤣🚪
YAY NEW VIDEO
🙏❤️
I guess resolution is different than establishing the key. It seems like a dominant seven could resolve many ways say Bb could resolve to C or it could resolve to Eb or it could resolve to...
Great vids. Off topic question but what gear do you have? I always think on what a nice mellow piano sound you got.
Hey Marcus, thanks for the question. I'm usually using one of the piano samples direct from the Nord Stage 2. Nord have a bunch of different grand and upright piano samples that you can download from their website for their keyboards. I think for this video I was using their 'Royal Grand' sample although for the last few videos I think I've been using their 'Felt Upright'.
I have said it before so I wont say it again. Cool (OK I couldn't resist).
About the E7-C: you’re right, this one is not being used at all. The other cadences (G7-C, Db7-C and Bb7-C) all have the important line F-E. This is not the case for the E7-C cadens. The E is the major 3rd of the C chord, arguably the most important chord tone. The E7 already contains the E, giving it away too soon.
Also, think about III in C major: Em7. Why is this never used as a replacement for V, although it’s third related to it? Because it’s also third related to the tonic. It just sounds too much as a tonic. The same goes for the E7, although in a lesser degree.
Your point about the F-E line being most important is very interesting because it seems intuitive that the most important would be B-C since it resolves to the root. But in jazz you will often see the V7 replaced with a V7sus, replacing B with C. If B-C was most important, using a V7sus wouldn't make any sense because you are replacing the most tense note with the most resolved note, which would surely dissolve all tension. It doesn't however, because the most important line is not B-C but F-E. Additionally, in jazz you typically will resolve to Cmaj7, which contains a B, and occasionally even a Cmaj7#5, which contains a G#/Ab, but I can't think of any common resolutions that include an F.
Hey Micheal, I really need some help building those chord progressions. I know how to play all of the chords and identify them, as well as the voicings, but i dont now how to build those beautful progressions that sound good Any advice please? Thank You