Comments

• GadjoTheo New

  August 2021 Posts: 9

  Okay! So what makes F7 a passing chord is that it's the V to Bb, so you can play a Bb phrase over both the V and the I?

  Thanks, littlemark!
• GadjoTheo New

  August 2021 Posts: 9

  Thanks again, Richter 4208!

  On bar 47, why can Stochelo sub that Eb7 for Ab6? I know they have several notes in common, and Eb7 is the V. Is there a reason that it works here?
• littlemark New

  August 2021 edited August 2021 Posts: 317

  https://www.djangobooks.com/forum/discussion/comment/107730#Comment_107730

  In m.47 he is outlining the Ab7 chord as you said then he is anticipating the D7 in the next bar. Because they are both dominant sounds/feelings.

  As I mentioned earlier, he's not really thinking about scales. He's thinking about chord shapes. Certainly not modes.

  
• littlemark New

  August 2021 edited August 2021 Posts: 317

  https://www.djangobooks.com/forum/discussion/comment/107732#Comment_107732

  I think you misunderstood what I meant by passing chords. You thought the F7 was leading to the Bb. Which it does, but it's a bigger picture.

  The first 4 bars of the piece can all be g minor. You can get rid of the D7 (or not) but the F7 the Bb the Bdim are all just passing chords leading to the c minor in the next bar. They are harmonizing a walk up bass line. G A Bb B land on c minor!

  
  

  You could also substitute the Bb and Bdim for a G7. Which will lead you to the C minor.

  
  

  In m.67 over the f7 he is playing a gminor6 arpeggio. You are seeing it as a Bb6. Which it is. But Django is likely seeing a gmin6 for the whole bar.

  I hope that makes sense.

  
  

  Try not to always chase the chord changes. It will sound correct but not always like music ( as Denis says in his recent vid)

  
• GadjoTheo New

  August 2021 Posts: 9

  Thanks a ton, Littlemark! That's really helpful!