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HIPSHOT - An Original Tune

Charles Gacsi (42523) · [archive]
Style: Blues · Level: Advanced · Tempo: 120
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

The progression uses ii - V in the fourth measure. Cm7 to F7.

Fifth measure it goes to I and Ib7, Bb and then Bb7. From there it resolves to Eb maj7 followed by Ebm.

I had originally used an Ab7 but the Eb minor chord has a little more finesse where as the Ab7 seems a little more abrupt.

At times you might substitute the use of a Dominant 7th chord for a minor substitution

There were several places that the Dominant Seventh chord was substituted by the raised tonic chord.

Example is using B7 for the F7 chord in the key of Bb. How is this possible? If we have F7 and flat the 5th, it is the same chord as the raised tonic. F7b5 = B7b5... Now go one step further and use B7 in place of F7. There is a chromatic part of a progression. Cm to B to Bb. Also there is the subdominant chord (IV)in major followed with the subdominant chord in minor. Eb to Ebm. Parallel keys

Use of the Eb major 7 chord, is a little deceptive in that the listener is expecting something else. By going into Eb minor, mood is shifted. Feelings of happiness and sadness exist together. A cry of sadness occurs in the 6th measure.

The bridge moves into the subdominant chord (IV) first in major and then in minor (parallel keys). Numerous extensions exist allowing the piece to settle down, or continue on. The last three measures give a finality to the piece. A question followed by an answer with the thirds being used.