if that thing goes to F anything, to say that it's *really* another chord which isn't C whatever, ie., /dominant of F is confusing to someone thinking in terms of its actual harmonic function.
my point is merely that, it's *really* the dominant chord of F in the context you cite. It may have IMPLICATIONS of a number of other chords, and as I granted you it can be useful in terms of giving you some options, the way you are thinking about it. You're at a point far beyond the OP; my point is not to bust your chops but to clarify. Your language goes beyond basic harmonic function to include other information, and you used the potentially problematic phrase "is really".
now, for instance E G Bb is vii (dim) of F minor, and vii dim is generally the same function as V7.
OTOH E7 tends to imply (dominant) function to A, which is great, but when you're in F (maj, min), C7 isn't really E7 (until it is). Guitar players omit roots where there is higher extension, so it's useful to 'be aware' that you can SUBSTITUTE Bb7 or E7 for a C7 +5. But in F minor, C7 is really a C7.
best
Jan
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
I suppose I can kind of see your issue with what I said. I am coming from a slightly different point of view which it appears to me you understand. There are many implications of other keys, as you said. That is what makes music fun. You have lots of freedom. Just because a song is written in a certain key doesn't mean I have to stay in that key. This is where substitutions come in, again as you said.
My intent was not to confuse the original poster but to demonstrate that what he found was not the only occurrence of ambiguous harmony in music theory. And, perhaps, to foster some interesting discussion.
My intent was not to confuse the original poster but to demonstrate that what he found was not the only occurrence of ambiguous harmony in music theory. And, perhaps, to foster some interesting discussion.