Originally posted by Sweep88:
The first ten years of my piano life evolved around the circle of fifths. But I've noticed from your posts that you automatically call your VI and II chords as minor. I'm simply wondering what the difference
is between our styles of jazz, therefore theory. Thanks [/b]
Typically II, III, and VI are minor chords (triads) in tunes written in a Major key. The simple reason is that the diatonic (belonging to the same scale as the local key) third above the root is a
minor [/b]third away from the root.
I, IV, and V are typically major triads in tunes written in major keys. The diatonic third of these chords are a
major [/b]third up from the root.
Okay, I am missing one - VII, a diminished triad. This has a minor third, but is NOT a minor chord because the fifth is diminished. All of the other chords have perfect fifths. What makes this VII distinctive is its diminished fifth. If a diminished triad is called for you should be voicing the fifth...
fingers has a pretty good chart of it. However he is calling VII half diminished, and V dominant. This is true when you take into account the
sevenths[/b] and you are describing the quality of the
If your progression is C - A7 - Dm7 - G7, then from a theoretical perspective the A7 chord is not vi (minor)
nor[/b] VI (major). It really functions as V of Dm. Or V7/ii.