PCM
Spring, Texas
Hey Griff, Gents and Ladies,
There's a track in UBJV2 called "That Lonesome Train" (Key of D) that is very similar to "Georgia" and a number of other tunes over the years. This particular track has a chord sequence through G#dim7 and Emaj which can also be heard in a number of tunes.
My question is this: What academic/music theory definition allows for the use of those chords when they clearly aren't in the key and don't fall under standard harmony rules? I'm pretty fluent and familiar with the scales, patterns, both major and minor required to solo against the changes. And...I can see the chord tones within the dim7 ( and 4 fret repeat "walk" up or down the neck) and the Emaj and how they fit over applicable scales in the key of D. What I don't understand is the theoretical basis behind both changes.
Inquiring minds would like to know...thanks.
Pete in Texas
There's a track in UBJV2 called "That Lonesome Train" (Key of D) that is very similar to "Georgia" and a number of other tunes over the years. This particular track has a chord sequence through G#dim7 and Emaj which can also be heard in a number of tunes.
My question is this: What academic/music theory definition allows for the use of those chords when they clearly aren't in the key and don't fall under standard harmony rules? I'm pretty fluent and familiar with the scales, patterns, both major and minor required to solo against the changes. And...I can see the chord tones within the dim7 ( and 4 fret repeat "walk" up or down the neck) and the Emaj and how they fit over applicable scales in the key of D. What I don't understand is the theoretical basis behind both changes.
Inquiring minds would like to know...thanks.
Pete in Texas