Today’s progression makes use of what is often referred to in music theory as a “backdoor cadence”. It’s about resolving your progression back to the major tonic, but via a VII subtonic, which replaces the standard vii diminished leading chord in the diatonic scale.
The VII chord is positioned a whole step (equivalent of two frets) down from the tonic chord. As you’ll hear in the example below, I enhance this “backdoor” tension-resolution by using a dominant 9th chord with a flat 5th, although even just a regular dominant 7th will give it the depth it needs. The result is a rather psychedelic and distant ambiguity.
A common way to lead in to this backdoor VII chord is through a minor iv chord. For a less tragic sound though, stick to the standard major IV chord. Or, to blues it up a little, use an IV7 chord.
The flat 5th VII7 chord is used a lot in jazz and blues, but there’s no reason why it shouldn’t be strived for in other genres and styles. A good alternative to your standard V – I or vii – I resolution.
Try out different combinations – you don’t necessarily have to resolve from the VII chord. For example – D Gm C9 Em7 D – there, the back door is left open for the ii chord (Em7 in this example)!
Are the .mp3’s of the chord progressions in the library available somewhere for downloading? If not, could they be made available?
Yes, you can download the tracks by pasting the following address into your URL bar and replacing the number before .mp3 with the corresponding progression number. E.g. for #20…
[audio src="http://www.fretjam.info/audio/20.mp3" /]
A lot of really cool stuff I stumbled on. Kinda esoteric, but definitely interesting, I’d love if you could possibly send me an e-mail with all of your articles condensed into one package to save for later.