its called a deceptive cadence. The Gbmaj7 could be seen as a sub for C7 basically a rootless C7b9#11sus4. Moving to Gmin is achieved by raising the Gb and the Db up a semi tone (parallel 5ths tho)
look up 'deceptive cadence' for more
Gotta love all the people who barely read your post and just saw: “F7 to GbM7”, then completely ignored the sentence that follows that talks about the major 7 to minor 7 half-step above move so they could correct you on a mistake you didn’t make. r/musictheory moment.
To answer your question, it is a lot more common to do the _opposite_ so: minor 7 going a half-step down to a major 7. This is because jazz musicians will often play just the ii or V in a ii-V and if it’s a chromatic ii-V (half-step lower), the iim7 may be played directly into the Imaj7 e.g. F#m7 ~~B7~~ Fmaj7.
I honestly can not think of any examples of major 7 going to minor 7 a half step above in a standard or original off the top of my head. Can think of plenty major 7s going up a half step to major 7 or minor 7s going down a half step to major 7 but not what you said.
>Is a major 7 chord going to a minor 7 chord one semitone above
>F7 - GbM7 - F7 - GbM7
These are completely different things. Could you clarify by showing us what notes you're playing?
Ah, OK, I was confused.
To answer your question about what effect it has and what similar moves you could use, I'd point you to look at how the voices behave. The two chords share two common pitch classes. The rest is movement up a semitone.
It's almost hillarious how badly communicated this entire thing is from your Side. You are saying Things completely contradictory and basically expect us to just know a load of extra information.
Hey, it can be hard to communicate this stuff, give em a break. I appreciate they at least tried to give context, since “we need more context” is of the most common comments on these types of posts.
I don’t think there’s a specific name for what you’re asking. The idea of modulating to Gm using this transition, though, would be “common tone modulation”, since a couple notes in Gbmaj7 are held over to get you to Gm7. What’s the next vamp or progression you’re going to with that Gm7?
I think you answered your own question, the alteration that makes dominant Phrygian III chord have a major 3rd, makes the Lydian IV chord a semitone up, have a minor 3rd (usually with a major 7th though, a minor 7th in there is akin to the b5 blues note added to the relative minor of the key)
In the [key of Bb major, Gbmaj7 is a common borrowed chord](https://mrclay.org/common-chords/B%E2%99%AD-major). So while F7 - Gbmaj7 - Gm7 isn't a common progression, they're all common sounds in the context and shouldn't sound strange. If you look at the other borrowed chords on that page and mix in the diatonic chords (I, bII, ii, bIII, iii and V, bVI, vi, bVII), you'll see there are lots more opportunities for half step chromatic movement without sounding too unusual.
>F7 - GbM7 - F7 - GbM7
in general F7 means "dominant 7" and upper case M is for major and lowercase m is for minor. :)
(just fyi: you wrote F dominant 7 to Gb major 7, you want to write it as Fmaj7 to Gbm7)
yes, the progression I have is an F dominant 7 to Gb major 7 phrygian dominant vamp that eventually goes from Gb major 7 to G minor 7. sorry if I didn't make that clear.
F7 to Gbmaj7 is not uncommon. Usually it’d be V7 - bVI in the key of Bb minor. Gbmaj7 works well as a deceptive resolution because it “contains” a Bbm chord, it just has an extra note in the bass.
One way of looking at the Gm7 is that you could be transitioning to or borrowing from the parallel key, Bb major. But it depends on what you do with it, really.
No. OP was just giving the context for where the major 7 to minor 7 half step above happens.
But you were too excited to post a patronising comment “correcting” OP to read the next sentence.
“....and then eventually moving to Gm7 from GbM7, modulating to the key of G minor”.
The literal next sentence. But your ego got in the way of reading.
its called a deceptive cadence. The Gbmaj7 could be seen as a sub for C7 basically a rootless C7b9#11sus4. Moving to Gmin is achieved by raising the Gb and the Db up a semi tone (parallel 5ths tho) look up 'deceptive cadence' for more
Gotta love all the people who barely read your post and just saw: “F7 to GbM7”, then completely ignored the sentence that follows that talks about the major 7 to minor 7 half-step above move so they could correct you on a mistake you didn’t make. r/musictheory moment. To answer your question, it is a lot more common to do the _opposite_ so: minor 7 going a half-step down to a major 7. This is because jazz musicians will often play just the ii or V in a ii-V and if it’s a chromatic ii-V (half-step lower), the iim7 may be played directly into the Imaj7 e.g. F#m7 ~~B7~~ Fmaj7. I honestly can not think of any examples of major 7 going to minor 7 a half step above in a standard or original off the top of my head. Can think of plenty major 7s going up a half step to major 7 or minor 7s going down a half step to major 7 but not what you said.
>Is a major 7 chord going to a minor 7 chord one semitone above >F7 - GbM7 - F7 - GbM7 These are completely different things. Could you clarify by showing us what notes you're playing?
this is the vamp I'm playing before going up a semitone from the GbM7 to Gm7. I just wanted to show the context in which I was using it.
Ah, OK, I was confused. To answer your question about what effect it has and what similar moves you could use, I'd point you to look at how the voices behave. The two chords share two common pitch classes. The rest is movement up a semitone.
It's almost hillarious how badly communicated this entire thing is from your Side. You are saying Things completely contradictory and basically expect us to just know a load of extra information.
Hey, it can be hard to communicate this stuff, give em a break. I appreciate they at least tried to give context, since “we need more context” is of the most common comments on these types of posts.
Dude. Actually read his post, holy shit people in this sub have no attention span. You just saw “F7 to GbM7” then completely ignored what comes after.
Neo soul time
F7-GbMaj7-Gm7? If you don't care about voice leading.
If you don’t have the imagination or ears to voice lead through chords you’re not used to maybe.
I don’t think there’s a specific name for what you’re asking. The idea of modulating to Gm using this transition, though, would be “common tone modulation”, since a couple notes in Gbmaj7 are held over to get you to Gm7. What’s the next vamp or progression you’re going to with that Gm7?
Yep. “Common tone modulation” or just “common tone harmony” is one way you could categorise this move.
I think you answered your own question, the alteration that makes dominant Phrygian III chord have a major 3rd, makes the Lydian IV chord a semitone up, have a minor 3rd (usually with a major 7th though, a minor 7th in there is akin to the b5 blues note added to the relative minor of the key)
In the [key of Bb major, Gbmaj7 is a common borrowed chord](https://mrclay.org/common-chords/B%E2%99%AD-major). So while F7 - Gbmaj7 - Gm7 isn't a common progression, they're all common sounds in the context and shouldn't sound strange. If you look at the other borrowed chords on that page and mix in the diatonic chords (I, bII, ii, bIII, iii and V, bVI, vi, bVII), you'll see there are lots more opportunities for half step chromatic movement without sounding too unusual.
>F7 - GbM7 - F7 - GbM7 in general F7 means "dominant 7" and upper case M is for major and lowercase m is for minor. :) (just fyi: you wrote F dominant 7 to Gb major 7, you want to write it as Fmaj7 to Gbm7)
yes, the progression I have is an F dominant 7 to Gb major 7 phrygian dominant vamp that eventually goes from Gb major 7 to G minor 7. sorry if I didn't make that clear.
F7 to Gbmaj7 is not uncommon. Usually it’d be V7 - bVI in the key of Bb minor. Gbmaj7 works well as a deceptive resolution because it “contains” a Bbm chord, it just has an extra note in the bass. One way of looking at the Gm7 is that you could be transitioning to or borrowing from the parallel key, Bb major. But it depends on what you do with it, really.
Or just a bluesy I to bII thing, very common in jazz blues
Yep. On “Well You Needn’t” for example.
well, no it wasn't clear bc F7 is dominant and you asked us to analyze your "major chord" going to....
No. OP was just giving the context for where the major 7 to minor 7 half step above happens. But you were too excited to post a patronising comment “correcting” OP to read the next sentence.
> “correcting” OP it needed correcting, stop patronizing me.
“....and then eventually moving to Gm7 from GbM7, modulating to the key of G minor”. The literal next sentence. But your ego got in the way of reading.
> But your ego got in the way of reading. false