Quote:
Originally Posted by wolfger  ok being no native speaker I´m not sure I always use the right words.
i try it another way:
in the original charts the progression:
IIm-bVII -I and
IIm-IVm-I are written in parallel,
so to me its quite obvious and a not so foreign Interpretation that IVm can be used instead if bVII which in it´s own is a tritone substitue of V.
so we have:
Dm-Db7-C and
Dm-Fm-C
The Db7 in Dm-Db7-C replaces the more common G7
And I think we can both agree that Fm is very Close to Db, and obviously Db is very close to G7.
kind regards wolfger |
First of all, the bVII of C is Bb, not Db. Secondly, by stating that the progression Dm-Fm-C is a
substitution for Dm-Db7-C is misleading because the latter is a more remote progression given that the Db7 contains three notes chromatic to C (Db, Ab, and Cb) whereas Fm only contains one (Ab).
My point is that it becomes confusing to explain harmonic function by choosing the long route. Harmonic functions should be explained through the most direct method possible within the context. Referring to a chord as a substitution of a substitution puts it on shaky ground, and it leads to many arbitrary labels. Many things can happen in between Dm and C, but they are not all "substitutions" for G7, especially if they are not native to the dominant region (like Fm for instance).