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#1
02-15-2012, 10:22 PM
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'Favorite'...tension
http://www.youtube.com/watch?v=sOXVM...eature=related
This is one of my favorites by Neko Case...trying to learn it,but it seems to have a lot more tension building than the key of C chord progression I'm using, shows. Also that E7?..it's not a secondary dominant,is it a borrowed III7 from the parallel minor C scale?Any ideas? http://www.chordie.com/chord.pere/ww...se/166188.html
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Taylor 110 Kiso-Suzuki classical (for when my fingers hurt  )Martin OM-21 special Kentucky KM172 oval-hole mandolin Last edited by bc guy; 02-15-2012 at 10:32 PM. 
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#2
02-16-2012, 06:27 AM
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Quote:
E7 isn't from C minor! It is a secondary dominant, IMO (V/vi), it just lacks the resolution to Am. The move back to C would then be classed as a "deceptive cadence" (AFAIK). IMO, it sounds like a very odd sequence, only satisfying when it hits the F - maybe because F is a more familiar deceptive cadence from E7 in key of C; as if we've been waiting for the F (or Am) since hearing those unresolved E7s. (Of course this is just the way I'm hearing it.)
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#3
02-16-2012, 12:08 PM
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You could even say the resolution isn't deceptive, since C is a tonic chord in the key of A minor (which is where the E7 chord wants to take us). ... i.e. it does resolve to an A minor chord, it just has the b3 in the bass. Not convinced? Me either. Just throwing it out there.
I mean, obviously when it moves to C it's not actually taking us to the key of A minor... but C, E, and G are all notes in an A-7 chord.
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www.robwolfe.net
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#4
02-16-2012, 10:13 PM
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Thanx for the replies and clarification.
I think her singing is also what really adds to the building tension.
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Taylor 110 Kiso-Suzuki classical (for when my fingers hurt )Martin OM-21 special Kentucky KM172 oval-hole mandolin
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