Few questions

[R T]

Just a few basic questions:

When the standard 12 bar blues shifts to using the parallel minor in the 5th bar and the ii minor substitute in the 9th bar. Is this the first evolution from blues to jazz in a progression? In other words is this new “jazzier” progression the considered the “12 bar blues” or standard progression of jazz/bebop?

I never fully have understood borrowing from the parallel key. It seems weird and random to me to just replace a dominant 7th with a minor out of nowhere but I assume is is just something that is considered to work?

Lastly, as far as non diatonic chord subs go is borrowing from the parallel key, secondary dominants and tritone substitutions pretty much all of them?

TIA

[Richie]

Yes, the inclusion of the II-V is probably the most basic transition from traditional blues to jazz blues.
As far as borrowing from a parallel minor key goes, this is a practice that was introduced by the classical composers a long time ago. In jazz we call it “modal interchange”. I explain it in detail in VOL 2 after covering minor tonalities.

Secondary dominants and tritone substitutes are not borrowed from parallel minor keys. They are non diatonic compositional devices, again introduced centuries ago (eg. Bach) in order to create added “tension and resolve”and harmonic movement within an otherwise diatonic major tonality.

[R T]

Thanks for the clarifications. Yes, I was aware that tritone and secondary dominants are not part of borrowing from the parallel minor keys, sorry for any confusion.

It seems that these three methods of (borrowing from parallel key, secondary dominants and tritone subs) are pretty much the majority of non diatonic chord subs to a progression in all genres. Is that statement true or are there other such standard used devices I am unaware of?

TIA

• This reply was modified 2 years, 10 months ago by R T.

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