From the "Come Dancing,"composed by Michael Walden, I see two chord vamp "Dm7, Bb7, Dm7, Bb7 ....." with funky feeling.
This tune seems key of F since it has one flat for the key signature.
What I can't figure out is Bb7. I don't knoe where this chord came from? This is not a diatonic chord. Would somebody explain about this chord progression theoritically? And also I wonder if this progression is very popular. The sound is cool to me.
Thanks,
Alex
You're right, Bb7 is not a chord in the key of F. It adds chromatic interest.
I've mentioned it elsewhere recently, but it's not always a great idea to get hung up on whether a chord specifically belongs in a key or not. In the key of F, Bb is chord IV, and Bb7 becomes IV7. When you play Blues, you'll often use I7 and IV7 as well as V7. It sounds fine. When you play Jazz you'll often use even more exotic chord constructions.
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Hi Alan,
Thanks a lot. Your kind reply is a big help to me.
Alex
Bb7 = Bb-D-F-Ab
Dm7 = D-F-A-C
Whenever chords share two (or more) tones, the result tends to sound like a very smooth transition. This is the underlying principle in most chord substitutions, and it's why changes like I-vi work so well (in C, I-vi = CEG to ACE)
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