by Sam Cooke in C
Chord Progression:
{: C Dm7 Am7
C Dm F7 E7 Am7 C :}
Part A
| Chord | Mode (in C major) | Notes |
|---|---|---|
| C | I | C E G |
| Dm7 | ii | D F A C |
| Am7 | vi | A C E G |
| F7 | IV | F A C Eb |
| E7 | V7/vi | E G# B D |
F7: borrows Eb for a bluesy feel.
E7: E is the iii (minor) chord in C’s diatonic scale, so it doesn’t really fit here.
But if we look at A, the relative minor of C, then we see that E is the V of A.
Resulting to a C major key.
There are mostly natural notes from C, which is occasionally escaped to other notes to create feel, e.g. bluesiness (F7) and a resolution (E7)
Part B
Chord Progression:
{: Dm7 C Dm7 Am
Dm7 Am E7 Dm9 G7 :}
| Chord | Mode (in C major) | Notes |
|---|---|---|
| C | I | C E G |
| Dm7 | ii7 | D F A C |
| Dm9 | ii9 | D E F A |
| Am | vi | A C E |
| E7 | V7/vi | E G# B D |
| G7 | V7 | G B D F |
E is the iii (minor) chord in C’s diatonic scale, so E7 doesn’t belong naturally in C major.
But if we look at A, the relative minor of C, we see that E is the V of A. So in C major, E7 functions as a secondary dominant (V7/vi) leading to Am.
Resulting to a C major key again.