Obsérvese el siguiente cuadro comparativo en donde se presentan los acordes de cuatro

notas, todos construidos sobre la nota C como fundamental. Al igual que en el capítulo
anterior, el cifrado de elección para el presente texto se indica en primer lugar y en
negritas, seguido de otras formas posibles de cifrar los acordes según los diferentes
sistemas de nomenclatura.

ACORDE ESTRUCTURA CIFRADO

MAYOR CON SÉPTIMA • 3ª MAYOR Cmaj7
• 5ª JUSTA
• 7ª MAYOR CMaj7, CMa7, Cma7, CM7,CΔ, CΔ7

MAYOR CON SEXTA • 3ª MAYOR C6

• 5ª JUSTA
• 6ª MAYOR

MENOR CON SÉPTIMA • 3ª MENOR Cm7

• 5ª JUSTA
• 7ª MENOR Cmin7, C-7, Cmi7

MENOR CON SEXTA • 3ª MENOR Cm6

• 5ª JUSTA
• 6ª MAYOR Cmin6, C-6, Cmi6

SÉPTIMA DE DOMINANTE • 3ª MAYOR C7

• 5ª JUSTA
• 7ª MENOR Cx

SÉPTIMA DE SENSIBLE • 3ª MENOR Cm7(f5)

(SEMIDISMINUIDO) • 5ª DISMINUIDA
• 7ª MENOR
C∅7, Cm7f5, Cmin7(f5), Cmi7(f5),

C-7(f5), Cm7-5, Cm7(-5), etc.

37
 SÉPTIMA DISMINUIDA • 3ª MENOR Cdim7
• 5ª DISMINUIDA
• 7ª DISMINUIDA Cº7

MAYOR CON SÉPTIMA • 3ª MAYOR Cmaj7(s5)

(5ª AUMENTADA) • 5ª AUMENTADA
• 7ª MAYOR
CMaj7(s5), CMa7(s5), Cma7(s5),

CM7(s5), CΔ(s5), CΔ7(s5),

CMaj7(+5), CMa7(+5), etc.

MAYOR CON SÉPTIMA • 3ª MAYOR Cmaj7(f5)

(5ª DISMINUIDA) • 5ª DISMINUIDA
• 7ª MAYOR
CMaj7(f5), CMa7(f5), Cma7(f5),

CM7(f5), CΔ(f5), CΔ7(f5),

CMaj7(-5), CMa7(-5), etc.

MENOR • 3ª MENOR Cm(maj7)

CON SÉPTIMA MAYOR • 5ª JUSTA
• 7ª MAYOR Cmin(maj7), C-(maj7), Cmi(maj7),

Cm(s7), Cmin(s7), etc.

Cm(+7), Cmin(+7), etc.

SÉPTIMA DE DOMINANTE • 3ª MAYOR C7(s5)

(5ª AUMENTADA) • 5ª AUMENTADA
• 7ª MENOR C7(+5)

SÉPTIMA DE DOMINANTE • 3ª MAYOR C7(f5)

(5ª DISMINUIDA) • 5ª DISMINUIDA
• 7ª MENOR C7(-5)

38
 SUMARIO DE TENSIONES DISPONIBLES

TENSIÓN DISPONIBLE EN
9 - todas las cualidades de acordes

f9 / s9 - dominantes; raramente en dominantes (sus4)

(excepciones a la regla de 9ª mayor sobre notas

del acorde)

11 - todas las formas de acorde menor

- como nota del acorde en dominantes (sus4)

s11 - acordes del tipo maj7 y 6

- dominantes
- dominantes (s5)

f13 - acordes del tipo m7(f5)

- dominantes

(excepción a la regla de 9ª mayor sobre notas del

acorde)

13 - acordes del tipo maj7 (como 6ª)

- m(maj7) (como 6ª)
- dominantes
- dominantes (sus4)

• La 7ª mayor en ocasiones se considera tensión por estar medio tono debajo de la

fundamental y crear un sonido “tenso”.

• La 5ª disminuida (f5), equivalente enarmónico de la 11ª aumentada (s11), y la 5ª

aumentada, equivalente enarmónico de la 13ª menor (f13), se consideran

tensiones en algunos casos, dependiendo de su función dentro del acorde.

47
Las siguientes consideraciones, en donde se comparan todos los modos con las escalas
paralelas mayor (modo jónico) o menor natural (modo eólico), pueden resultar útiles
para identificar las particularidades de cada uno de ellos.

• El modo dórico puede describirse como una escala menor natural (modo eólico)
con el 6º grado mayor (6):

• El modo frigio puede describirse como una escala menor natural (modo eólico)
con el 2º grado menor (f2):

• El modo lidio puede describirse como una escala mayor (modo jónico) con el 4º
grado aumentado (s4):

50
 • El modo mixolidio puede describirse como una escala mayor (modo jónico) con el
7º grado menor (f7):

• El modo locrio puede describirse como una escala menor natural (modo eólico)
con el 2º grado menor (f2) y el 5º grado disminuido (f5):

Cuando observamos los modos en contexto y los comparamos con los modos paralelos
jónico o eólico, las diferencias resultantes nos muestran la nota característica de cada
modo. (Las escalas en los ejemplos anteriores nos muestran las notas características en
negritas).

NOTAS
MODO CARACTERÍSTICAS

JÓNICO 4º grado justo (4)

DÓRICO 6º grado mayor (6)

FRIGIO 2º grado menor (f2)

LIDIO 4º grado aumentado (s4)

MIXOLIDIO 7º grado menor (f7)

EÓLICO 6º grado menor (f6)

LOCRIO 2º grado menor (f2)

5º grado disminuido (f5)

51
Sustituyendo unos acordes por otros de la misma categoría funcional, es posible
rearmonizar este ejemplo:

T = FUNCIÓN TÓNICA; SD = FUNCIÓN SUBDOMINANTE; D = FUNCIÓN DOMINANTE

El resultado será una nueva progresión que suena similar a la original:

Al comparar estas dos progresiones deben considerarse algunos factores importantes:

• Los movimientos de fundamental no son iguales, aunque las melodías sí lo son.

• Las decisiones de rearmonización deben ser compatibles con la melodía.

• Los movimientos originales de los dos acordes dominantes ya no resuelven por

5as (recuérdese que la resolución normal esperada para un V7 o un V7sus4 es
descendiendo una 5ª al acorde I).

• El ritmo armónico ha cambiado, hay más acordes por compás.

63
114 Chapter 6 Harmonic Progressions

SECONDARY DOMINANTS
The primary chords are built without alterations on diatonic scale degrees. There is only one dominant
and its function is to point out the tonic chord. If other dominants occur in a progression other than
the primary dominant, then some chord has been chromatically altered to create the new dominant
and this new dominant will point to a key other than tonic. This new key is a secondary key from the
original making the dominant chord a secondary dominant. The dominant chord is the most identifi-
able indicator in the harmonic progression because it occurs only on the dominant pitch in major and
minor. Minor seventh chords that can occur as ii7, iii7, vi7 or iv7 do not point as conclusively.
Modulations to the closely related and remote keys are usually accomplished with the use of a sec-
ondary dominant.

In the key of C, expect modulations or temporary tonicizations, and look for the dominants of the
closely related keys. If any dominant other than the primary dominant G7 is encountered, it is a sec-
ondary dominant pointing away from the primary key and to a secondary key. Look for the dominants
pointing to the closely related keys of D, E and A minor and F and G major.

An A7 points to the key of D minor. It cannot be considered a VI chord in the key of C: there is no C#
available in the key of C; it must be a secondary dominant. The RNA for this chord is V7/ii. The “V7”
defines its relationship to D minor; the “ii” defines the relationship of the secondary key to the home
key of C. This symbol, V7/ii, means “A7 is the dominant (V7) of the D minor, the minor key on the
second degree (ii) of C major.” It also suggests that individual pitches have been changed. The key of D
minor has to have a C# leading tone in order to create the A7 chord, and a Bb by its key signature defi-
nition. These pitches are necessary in order to modulate from C major to D minor and define the dif-
ference between the two keys. The chromatically altered pitches want to resolve in the direction in which
they have been altered. The C# points up to D and the Bb down to A. With D and A as targets, it is easy
to see and hear how D minor is temporarily tonicized by the A7.

The dominant for E minor is B7 and is shown with the symbol V7/iii. The key signature for E minor is
one sharp plus the leading tone D# needed to create the dominant chord. The F# and D# are the pitches
necessary to modulate from the key of C to the key of E minor. Both the F# and D# resolve up in the di-
rection in which they have been altered to E and G, two primary pitches in the key of E minor.

The dominant for F major, the key of IV, is a C7 chord. This is often erroneously labeled as I7. There
cannot be a dominant chord on a pitch other than the dominant pitch and since there is no Bb in the
key of C, this chord must be the V7/IV. The Bb is the defining difference between the keys of C and F
major. The Bb wants to resolve down to the A, the note that defines the major quality in the key of F.

D7 is the V7/V. The F# that is needed to create the D7 chord is the one sharp from the key signature of
G. The Fn in the key of C usually points down to the En. The F# points up to G.

C major and A minor share the same key signature but there must be a leading tone in the key of A mi-
nor in order to create a dominant chord. E7 is the V7/vi. The pitch G# distinguishes the keys of C major
and A minor and creates the E7 dominant chord.

The following chart reviews the closely related keys to the key of C major, their secondary dominants,
RNA and lists the necessary accidentals needed to tonicize or modulate to the secondary keys.

NEW KEY AREA TO TONICIZE SECONDARY DOMINANT NECESSARY ACCIDENTALS

ii: D minor A7 (V7/ii) Bb and C#
iii: E minor B7 (V7/iii) F# and D#
IV: F major C7 (V7/IV) Bb
V: G major D7 (V7/V) F#
vi: A minor E7 (V7/vi) G#

Note that all twelve pitches are used in the chart above. The are seven pitches in the C major scale and
the accidentals needed for modulation comprise the remaining five.

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120 Chapter 6 Harmonic Progressions

Secondary Dominant Cycle No. 2: DEVELOPING AURAL HARMONIC RECOGNITION

Ascending diatonic chords with secondary dominants:
I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I

Play at the keyboard

œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
& c œœ œœ œœ œœ # œœ œœ œœ œ œ œ œ œ œ œ œ œ œœ œœœ ˙˙˙
œ œ œ œ œ œ œ œ œ œ
? c œ #œ œ #œ œ œ œ #œ œ #œ œ #œ œ
œ ˙

Secondary Dominant Cycle No. 2: DEVELOPING MELODIC RECOGNITION

Ascending diatonic chords with secondary dominants:
I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I

Play the lower part on the keyboard and sing the upper part to master hearing the identifying
tones necessary for tonicization:

& c œ . œ #œ bœ œ œ œ . œ #œ œ nœ œ œ œ œ œ bœ œ . œ #œ œ œ œ œ #œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ ˙
œ. œ
? c œœ œ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œ œœ œ ˙
œ
œ œ ˙

It is useful to fill out a chart for each of the thirteen major keys (including F3 and Gb) like the one shown
below for the key of C. The charts will reinforce the memorization of secondary dominant relationships,
the necessary accidentals for modulations, and the proper chord spelling.

HOME KEY: C major PRIMARY KEY SIGNATURE: No #s or bs

NEW KEY AREA TO SECONDARY SECONDARY NECESSARY
TONICIZE SUPERTONIC DOMINANT ACCIDENTALS
ii: D minor (1b) Eø7 (iiø7/ii) A7 (V7/ii) Bb and (LT) C#
iii: E minor (1#) F #ø7 (iiø7/iii) B7 (V7/iii) F# and (LT) D#
IV: F major (1b) Gm7 (ii7/IV) C7 (V7/IV) Bb
V: G major (1#) Am7 (ii7/V) D7 (V7/V) F#
vi: A minor Bø7 (iiø7/vi) E7 (V7/vi) (LT) G#

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 Chapter 6 Harmonic Progressions 127

6.21 Correct RNA:

Cmaj7 F#ø 7 – B7 Em7 – A7 Dm7 – G7 Cmaj7
I iiø 7 – V7 iii7 – V7/ii ii7 – V7 I
iii

RNA is a tool used to explain the aural experience of harmony. Anyone listening to the progression
above would know, upon hearing the F#ø 7, B7 and A7 chords, that the key of C had been left behind.
Leaving the home key is what makes the music interesting, and listeners respond accordingly. RNA can
facilitate the understanding of these harmonic diversions. The most important part of understanding is
being able to hear these progressions, the pitches that determine the tonic key and the pitches that cre-
ate modulations to remote keys.

DOMINANT CHORD EXCEPTIONS

In the discussion of chord types and function, dominant chords were found only on the dominant pitch
of major or minor keys. They functioned to point down a fifth to those tonic chords regardless of actual
resolution. There are three other types of chords that will be encountered in jazz that sound like domi-
nant chords but do not function as a V7 in major or minor. A tritone substitution dominant chord is
the substitution of a dominant chord a tritone away from the actual dominant which resolves down a
half step in either major or minor keys. A chord which sounds like and is labeled a dominant seventh
chord built on the flatted sixth degree in minor and resolves to the dominant chord is related to the
traditional augmented sixth chord. A backdoor dominant deceptively resolves up a whole step to ma-
jor keys and is related to a plagal cadence.

TRITONE SUBSTITUTION

The dissonant augmented fourth interval between the fourth and seventh scale tones of a major or a
harmonic minor scale is called a tritone (from the three whole steps between the pitches). The tritone is
the major third and minor seventh of the dominant chord, and the active tones of the chord. The tri-
tone dissonance wants to resolve in contrary stepwise motion. At (a), the B pulls up to the tonic pitch C
and the F resolves down to the major or minor third.

6.22 (a) The tritone resolves in contrary stepwise motion:

G7 C G7 Cm

& ˙˙ ˙ ˙˙ ˙
˙ b˙
? ˙ ˙
˙ ˙
Two dominant chords a tritone apart share the same tritone (b). A G7 and a Db7 have the same third
and seventh, although inverted and with an enharmonic spelling. The F is the third of Db7 and the sev-
enth of G7; the Bn is the third of G7 and Cb is the seventh of Db7. If the Cb is spelled as a Bn, an interval
of an augmented sixth in created between the Db and the Bn. In jazz chord notation practice, this chord
is labeled a dominant seventh, as it sounds, rather than an augmented sixth chord as it may be spelled.
Since these two dominants share the same tritone, and the tritone still wants to resolve in contrary step-
wise motion, the Db7 chord can substitute for the G7 chord.

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128 Chapter 6 Harmonic Progressions

6.22 (b) G7 and a Db7 share the same tritone.

G7 D b7 D b7 D b7 C D b7 Cm

& ˙˙ b ˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙
3
7
7
3 ˙ b˙
?
A6

b˙ b˙ b˙ ˙ b˙ ˙
˙
Any dominant chord may be replaced in a progression by the dominant chord a tritone away if its res-
olution is down a half step to the tonic chord. (It is not used in the progression where the dominant
moves to chords other than tonic). This is called tritone substitution.

6.22 (c) Tritone Substitution: Db7 may substitute for the G7

Dm 7 G7 C Dm7 D b7 C

& ˙˙ ˙˙ w
w
˙˙ ˙˙ w
w
?˙ w ˙ b˙ w
˙
The tritone substitute dominant chord will often contain the actual dominant pitch. The dominant pitch
is critical in melodies as it helps extablish the tonality and its occurrence over the tritone substitute
dominant supports this melodic function. The inclusion of the dominant tone in a tritone substitute
dominant explains why it does not sound or function like a typical dominant. The tritone substitute
dominant does not want to resolve down a perfect fifth. The Db7 in the example below contains the
pitch “G,” which confirms its identity as the tritone substitute for the G7 chord. It is doubtful that anyone
listening to the passage would expect the Db7 to resolve to Gb major. It could be argued that the Db7
chord is actually an inverted G7 chord evidenced by the enharmonic spelling: G - B - Db - F.

6.23 Tritone substitute dominants that contain the dominant pitch:

Em7 A7 Dm7 G7 Cmaj7 Em7 E b7 Dm 7 D b7 Cmaj7

& œœ # œœ n œœœ œœ ww œœ b œœ œœœ œœœ w

œ w ww
?œ œ bœ
œ œ œ œ bœ
A4

w w

There is no traditional agreed upon RNA notation for a tritone substitution. There are symbols for
augmented sixth chords, but tritone substitute dominants do not behave as augmented sixth chords.
Augmented sixth chords commonly substitute for a ii7 or a IV chord and resolve to a dominant chord
so using the augmented sixth chord symbols here would be misleading. For the purposes of this book,
the symbol “TT7” will be used to indicate a tritone substitute dominant chord. The two progressions at
(c) above would then be: ii7 - V7 - I, and ii7 - TT7 - I.

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 Chapter 6 Harmonic Progressions 129

Knowing that dominant chords a tritone apart function in similar ways complicates the harmonic
analysis process by only a small degree. Until now in this discussion, a dominant chord was always a V7
pointing down a fifth to a tonic chord. Dominant chords substituting for V7 point down a half step to
the chord of resolution. It will be easy to determine the type of dominant by examining the context.

SECONDARY DOMINANTS & TRITONE SUBSTITUTION

A piece of music may modulate to closely related keys using secondary dominants. Any dominant
chord may have a tritone substitution. The tritone substitution chord is usually spelled in the easiest to
read enharmonic form, commonly avoiding chords like Fb7 and Bbb7. An example from the key of C
major is shown below.

TONIC KEY SECONDARY TRITONE NEW KEY

DOMINANT SUBSTITUTE
DOMINANT
C A7 E b7 D minor
C B7 F7 E minor
C C7 Gb7 F major
C D7 A b7 G major
C E7 B b7 A minor

Learn to recognize dominant chord paired with their tritone substitute chord and the home key to which
they point.

DOMINANT CHORD TRITONE SUBSTITUTE TONIC KEY

DOMINANT
(V7) (TT7) (I or i)
G7 D b7 C major & C minor
C7 Gb7 F major & F minor
F7 B7 Bb major & Bb minor
B b7 E7 Eb major & Eb minor
E b7 A7 A b major
D #7 A7 G # minor
A b7 D7 D b major
G#7 D7 C # minor
D b7 G7 G b major
C #7 G7 F# major & F# minor
F#7 C7 B major & B minor
B7 F7 E major & E minor
E7 B b7 A major & A minor
A7 E b7 D major & D minor
D7 A b7 G major & G minor

TRADITIONAL AUGMENTED SIXTH CHORDS

Good music theory should always describe the way the music sounds. One exception in traditional
music theory is the augmented sixth chord. It sounds like a dominant seventh but is labeled a sixth
chord because its spelling includes the interval of an augmented sixth. Adding to the confusion is that
three geographical labels are often attached to these chords. The augmented sixth chord is usually
found in first inversion.

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132 Chapter 6 Harmonic Progressions

BACKDOOR DOMINANTS

A backdoor dominant is a dominant chord that deceptively resolves up a whole step to major keys. It is
often preceded by the IV chord. It may resolve to the iii7 or the I6 chords which often substitute for the I
chord in the middle of a progression.

A plagal cadence occurs when IV resolves to I as in “amen” shown at (a). Another plagal cadence is the
progression iv - I, or IV - iv - I at (b). The natural tendency for roots to descend in fifths suggests the
natural evolution of the IV chord resolving to a chord on the lowered seventh degree at (c) in place of
the iv chord. This chord then seems to resolve to the I chord from the backdoor.

6.25 Plagal Cadences

(a) (b) (c)
F C F Fm C F B b9 Cm aj7

& ˙˙ ˙˙ œœ œ ˙˙ œœ œ ˙˙˙
˙ ˙ œ b œœ ˙ œ b œœœ ˙
?˙ ˙
IV I IV iv I
˙ ˙ bœ ˙
œ
The backdoor dominant chord may also contain the interval of an augmented fourth above the root.
The major seventh of the IV chord is often retained in the backdoor dominant and anticipates the
major third of the tonic chord. This note is why the backdoor dominant typically resolves to major and
not minor. The Bb7 shown below will not sound like a V7 in the key of Eb because of the surrounding
context of C major and the En occurring in the chord. The chords below are shown with more extended
voicings. The F chord includes the major seventh and ninth. The Bb7 chord includes the 9 - #11 - 13. The
9 - #11 - 13 (C - E - G) of the Bb7 chord are the primary pitches of the upcoming tonic chord “C.” For
the purposes of this book, the symbol “BD7” will refer to this type of dominant chord. The Bb7 chord in
the second example is not a backdoor dominant. Backdoor dominants point to major keys and not
minor keys. In this typical deceptive cadence, the Bb7 would be heard as the V7 or Eb and the Cm7 as
vi7.

6.26
Backdoor Dominant with Extended Voicings V7 - vi7 Deceptive Cadence
Fm aj7
#
B b9 11 Cmaj7 Fm 9 B b13 Cm9

&œœ œœ ˙˙˙ & b œœœœ œœ ˙˙˙

œœ œœ ˙ œœ ˙
?œ bœ ˙˙ ? bœ œ ˙˙
A4

œ bœ œ bœ

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 Chapter 6 Harmonic Progressions 133

Simple harmonic passages can be energized by the addition of tritone substitutions and backdoor
dominants.

6.27
Basic step progression: IV - iii7 - ii7 - Imaj7.
Fmaj7 Em7 Dm7 Cmaj7

& www ww
w
ww ww
w w
?w
IVmaj7 iii7 ii7 Imaj7
w w w

A iv7 chord (Fm7) can be borrowed from the parallel minor. The ii7 (Dm7) chord can be preceded by
its secondary dominant (A7 = V7/ii) and the tonic chord by the primary dominant (G7 = V7).

6.28
Fmaj7 Fm7 Em7 A7 Dm7 G7 Cmaj7

& ˙˙˙ ˙
b b ˙˙
˙˙ b˙ ˙˙ ˙˙
# ˙˙
˙ ww
˙ ˙ w
?˙ ˙
IVmaj7 iv7 iii7 V7/ii ii7 V7 I maj7
˙ ˙ w
˙ ˙
The backdoor dominant (Bb7) can replace the borrowed iv7 chord. This backdoor dominant did not
resolve to the I chord, but moves to the substituting iii7 chord. The Eb7 is the tritone substitution for the
A7 and the Db7 for the G7.

6.29
Fmaj7 B b7 Em7 E b7 Dm7 D b7 Cmaj7

& ˙˙˙˙ b ˙˙˙˙ ˙˙˙

b ˙˙˙ ˙˙˙ ˙˙˙
˙ ww
w
?˙
IVmaj7 BD7 iii7 TT7/ii ii7 TT7 I maj7
b˙ ˙ b˙ ˙ b˙ w

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134 Chapter 6 Harmonic Progressions

The addition of these special dominant chords allows for several possible cadences to the tonic major
or minor chord. This is a list of possible chords. Not all pre-dominant chords lead to all dominant
chords. The backdoor dominant is usually preceded by the IV or iv7 chord. A partial list of
combinations follows this chart.

PRE-DOMINANT CHORDS DOMINANT CHORDS TONIC CHORDS

IV V7 I
ii7 viiø 7 (rare) i
iiø 7 vii°7 I6 or iii as substitute for I
Augmented 6th chord on bII as
iv7 tritone substitute dominant (sometimes vi7 as deceptive
(TT7) resolution)
V7/V Backdoor dominant on bVII
as plagal cadence (BD7)
vii°7/v
6
vii° 5 /iii
bVImaj7
Augmented 6th chord sounding
like a dominant chord on bVI

PARTIAL LIST of CADENTIAL COMBINATIONS

Diatonic Chords: With Secondary Dominant (V7/V):

Dm7 G7 Cmaj7 D7 G7 Cmaj7
ii7 V7 I V7/V V7 I

With Secondary Dominant (V7/V)

Dø 7 G7 Cm
& Tritone Substitution:
iiø 7 V7 i
D7 D b7 Cmaj7
With Borrowed iiø 7: V7/V TT7 I
Dø 7 G7 Cmaj7
With Tritone Dominant Substitution
iiø 7 V7 I
for Secondary Dominant:
With Tritone Dominant Substitution: A b7 G7 Cmaj7
D b7 TT7/V V7 I
Dm7 Cmaj7
ii7 TT7 I
A b7 G7 Cm
D b7 TT7/V V7 i
Dø 7 Cm
iiø 7 TT7 i
With Tritone Dominant Substitution
for Secondary Dominant & Dominant:
With Tritone Dominant Substitution
& Borrowed iiø 7 chord: A b7 D b7 Cmaj7
D b7 TT7/V TT7 I
Dø 7 Cmaj7
iiø 7 TT7 I
A b7 D b7 Cm
Plagal Cadence with Backdoor Dominant: TT7/V TT7 i
Fmaj7 B b7 Cmaj7
IV BD7 I

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