III - La séquence harmonique plagale

! ['P1','M7','I','Ts'],['?','?','?','SD'],['?','?','?','SD'],['P1','M7','I','Ts']
Sélectionnez une tonalité majeure :

III.2 - Réalisations avec que des accords M7

Les accords  SD  M7 sont :

Avec le bIIM7 phrygien et locrien

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['m2','M7','bIIM7','SD'],['P1','M7','I','Ts']
% ['P1','M7','I','Ts'],['m2','M7','bIIM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "DbM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "bIIM7"x | "I"x |] [V:S] G | A | _A | G |] [V:A] E | E | F | E |] [V:T] B, | C | _C | B, |] [V:B] C, | F, | _D, | C, |]
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "DbM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "bIIM7"x | "IV"x | "I"x |] [V:S] G | _A | =A | G |] [V:A] E | F | E | E |] [V:T] B, | _C | =C | B, |] [V:B] C, | _D, | F, | C, |]

Avec le bVIIM7 mixolydien et dorien

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['m7','M7','bVIIM7','SD'],['P1','M7','I','Ts']
% ['P1','M7','I','Ts'],['m7','M7','bVIIM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "BbM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "bVIIM7"x | "I"x |] [V:S] G | A | A | G |] [V:A] E | E | F | E |] [V:T] B, | C | D | B, |] [V:B] C, | F, | _B,, | C, |]
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "BbM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "bVIIM7"x | "IV"x | "I"x |] [V:S] G | A | A | G |] [V:A] E | F | E | =E |] [V:T] B, | D | C | B, |] [V:B] C, | _B,, | F, | C, |]

Avec le VM7 lydien

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['P5','M7','VM7','SD'],['P1','M7','I','Ts']
% ['P1','M7','I','Ts'],['P5','M7','VM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "GM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "VM7"x | "I"x |] [V:S] G | A | ^F | G |] [V:A] E | E | D | E |] [V:T] B, | C | B, | B, |] [V:B] C, | F, | G, | C, |]
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "GM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "VM7"x | "IV"x | "I"x |] [V:S] G | ^F | A | G |] [V:A] E | D | E | E |] [V:T] B, | B, | C | B, |] [V:B] C, | G, | F, | C, |]

On peut adoucir le passage de IVM7 à VM7 en intercalant le IIIM7 :

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['M3','m7','III','ts'],['P5','M7','VM7','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "Em7"x | "GM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "III"x | "VM7"x | "I"x |] [V:S] G | A | G | ^F | G |] [V:A] E | E | D | D | E |] [V:T] B, | C | B, | B, | B, |] [V:B] C, | F, | E, | G, | C, |]

Avec le bVIM7 mineur naturel, mineur harmonique et phrygien

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['m6','M7','bVIM7','SD'],['P1','M7','I','Ts']
% ['P1','M7','I','Ts'],['m6','M7','bVIM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "AbM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "bVIM7"x | "I"x |] [V:S] G | A | G | G |] [V:A] E | E | _E | =E |] [V:T] B, | C | C | B, |] [V:B] C, | F, | _A, | C, |]
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "AbM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "bVIM7"x | "IV"x | "I"x |] [V:S] G | G | A | G |] [V:A] E | _E | E | =E |] [V:T] B, | C | C | B, |] [V:B] C, | _A, | F, | C, |]

Avec le bVM7 locrien

% ['P1','M7','I','Ts'],['P4','M7','IV','SD'],['D5','M7','bVM7','SD'],['P1','M7','I','Ts']
% ['P1','M7','I','Ts'],['D5','M7','bVM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "FM7"x | "GbM7"x | "CM7"x |] [V:D] "I"x | "IV"x | "bVM7"x | "I"x |] [V:S] G | A | F | G |] [V:A] E | E | _D | E |] [V:T] B, | C | _B, | =B, |] [V:B] C, | F, | _G, | C, |]
La cadence bVM7 - IM7 est une cadence rude.
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "GbM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "bVM7"x | "IV"x | "I"x |] [V:S] G | F | A | G |] [V:A] E | _D | E | E |] [V:T] B, | _B, | C | B, |] [V:B] C, | _G, | F, | C, |]
Le passage de IM7 à bVM7 rude.

On peut adoucir le passage de IM7 à bVM7 en intercalant le bIIIM7 :

% ['P1','M7','I','Ts'],['m3','M7','bIIIM7','t'],['D5','M7','bVM7','SD'],['P4','M7','IV','SD'],['P1','M7','I','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "CM7"x | "EbM7"x | "GbM7"x | "FM7"x | "CM7"x |] [V:D] "I"x | "bIIIM7"x | "bVM7"x | "IV"x | "I"x |] [V:S] G | G | F | A | G |] [V:A] E | D | _D | E | E |] [V:T] B, | _B, | _B, | C | B, |] [V:B] C, | _E, | _G, | F, | C, |]