I’ll play a progression of four chords, and you identify those chords. It could be any of the chords that naturally occur in a major key: I-ii-iii-IV-V or vi. If you’ve followed this series so far and read the lessons in the video descriptions, you’ll have a basic understanding of how chords function and where they tend to resolve. However, also remember that anything is on the table. If I wanted to write a song with a iii-ii-vi-I-V progression, nobody could stop me!
None of these chord progressions will use the diminished vii° chord. Argue with me all you’d like, but this chord is uncommon to the point of being nearly useless. In C major, the notes of the naturally occurring diminished triad are B-D-F, which are also found in a V7 chord (G-B-D-F). We are so used to hearing V7-I, that using a diminished triad will just come across as an incomplete 7th chord. It would be more common to find a diminished triad on literally any other scale degree because they are very useful as chromatic passing chords. It doesn’t really need a chromatic passing chord, because there are already so many other ways to get to I. It would also be far more common to see a ♭VII chord borrowed from the minor scale. So please forgive me for not including a vii° in any of these progressions.
How do you actually identify the chords? You can listen to the intervals in the bass line or pick out specific scale degrees. If you are starting here, you should probably go back several videos in this series and read all of my advice from the beginning.
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28 сен 2024
