Topic
[F#m9 – C#m11/G# – Bdim7 – DM9, #11 – B/D# – Esus9 – Fdim7]
E Major Scale
Today, I would like to introduce the progress of Neo Soul code made using modal interchange and slash code.
Structure
To give the code a sense of deployment, we placed the dominant-like cord at the end of each joint.
Code Analysis
The first code is F#m9, the ii code for E Major Scale.
I added a theme with 9 tension and a little melody.
The second code was Rootless voicing in vi code C#m7 and put 9 and 11 tension.
11 and 13 tension is used a lot to create a Neo Soul or jazz code feel.
I wanted to make D#, the top note, feel like B, so I put C#sus9 in, but I put Bdim7 in because it lacked a sense of progress.
The third code is DMaj7.
This is the representative modal interchange code with the bVIIMaj code of E Major Scale.
It was a voice-similar to the first code, so I added the same melody to enhance the theme.
In bVIIMaj, #11 is used a lot and fits well.
The following code is BMaj/D#:
D# is the base to proceed sequentially with the base.
The following are Esus9 – Fdim7.
Esus9 can be interpreted as a variant of bVII7 based on the first code, F#m9.
And Fdim7 is a variant of the secondary domain (C#7) targeting the first code, F#m9.
Both codes replace the role of C#7.
Originally, I was going to proceed with Esus 90,000, but I was a little bored, so I put in Fdim7.
So, we made the base to proceed with ‘E – F – F#’ sequentially.
Finish
Today, we talked about code progress using modal interchange and slash code.
It would be good to collect and apply devices that are often used in code progression and apply them to various code progressions.