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The Flat Five Substitution - part 4

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This is basically the same 12-bar blues variation as in part 3, but this time it is in D-major. If you learn to play these progressions in A and D, you should be able to play in any key.


 
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I have included one chord that is neither a primary chord or a flat five substitution for any of those. This is the C7 in bar 5. I have put it in because I think it fits well into the flow of chords. I have noe explanation why a C7 should work in this context. I am just sticking to the golden rule of music: If it sounds right, it is right.

Also in this example, two chords are not correctly written in the standard notation. The version of Ab7 that is used should be written as Ab-Gb-C, but is written as Ab-F#-C The Eb7 should be written Bb-Db-Eb, but is written Bb-C#-Eb. Again the reason is that it would be more difficult to see that we are playing the same notes, even though the names are changing.

One could also discuss how the chords should be labeled. I have chosen C#7 and not Db7, because C# is a note that belongs to the A-major scale. But then it is an augmented fourth, and not a diminshed (flatted) fifth above the G. One could also argue that it would be more corret to use G#7 instead of Ab7, and D#7 instead of Eb7. I am not going to discuss the choices, just say that I have made a choice that can be discussed. If you would have preferred other labels, your choice would be as "correct" as mine.

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