236 APPENDIX B Non-Resolving Dominant Seventh Chords Dominant seventh chords normally form a peak of harmonic tension that creates an expectation of resolution; that resolution may be fulfilled, delayed, or subverted. But jazz benefits from the synergy between European tonal practices, African influences, and specific instrumental practices. Itis a living language that evolves as it absorbs ideas from a wide variety of musical sources. In keeping With this flexible tradition, dominant chords have come to have other uses besides their usual role in tension-resolution patterns. This appendix describes the contexts in which dominant 7 quality chords can operate without dominant function: non-dominant dominants! Special Function Dominants Inaclearly-defined tonal area, the primary dominant V7 and its subV7 will always create the expectation of resolution: either down a fifth or down a half step, respectively. The situation is not always so clear-cut with secondary dominants and secondary subV7's. Certain contexts or patterns create an environment in which these chords do not resolve or do not have an expectation of resolution. Dominant chords in these situations can be called special function dominants or color chords. ‘There can be debate about whether these non-resolving patterns constitute a disguised form of deceptive resolution. We encourage you to explore this ambiguity on a case-by-case basis. Some of them are familiar from earlier chapters: 1V7, the blues subdominant, is an integral part of jazz language and is widely used or substituted in major key progressions where a bluesy flavor is desired. It typically returns to IMaj? or 17. Progression to sIIIMaj7, sVI, or VIL are also common.Non-Alesolving Dominant Seventh Chords Duke Ellington, “Warm Valley” Clifford Brown, “Tiny Capers” Peter DeRose and Bert Shetter, “The Lamp Is Low" Anne Ronnell, “Willow Weep for Me" Tadd Dameron, “If You Could See Me Now” SVII7 is a subdominant minor modal interchange chord. With VII-75 as a related 11-7 and the appropriate harmonic rhythm, it will occasionally function ‘as subV7/V1, butit more often appears on a weak rhythi stress, then progresses back to IMaj7 or 17. Itis often preceded by IV-7. Benny Golson, “Killer Joe” Benny Goodman/Edgar Sampson/ Clarence Profit/Walter Hirsch, “Lullaby in Rhythm" Charlier Parker, “Yardbird Suit ‘Thelonious Monk, “I Mean You" Others appear at first glance to be secondary dominants or secondary subV’ | but context, metric position, and non-resolution will blur their functional identity. Although not common in mainstream jazz harmony, II7 can act as a brighter subdominant, in effect a II chord from the parallel Lydian. It appears in a weaker ‘metric position of the phrase than its identical twin V7/V. Itmost clearly functions as 117 when it immediately progresses to IV or back to I, Although there is some | ambiguity due to the presence of a V7 chord, the following tunes are sometimes analyzed as containing II7: Measures 3-4 of Billy Strayhorn’s “Take the ‘A’ Train” and Plater/Bradshaw/ Johnson's “Jersey Bounce,” measure 8 of Chick Corea’s “Bud Powell” Jimmy Van Heusen/Johnny Burke, “But Beautiful” Michel Legrand, “Watch What Happens” Antonio Carlos Jobim, “The Girl from Ipanema” Louis Alter, “Do You Know What It Means to Miss New Orleans” 237MII7 could function as a bluesy alternative to +IIIMaj7 or as part of a constant structure passage. It is not a feature of the American Songbook repertoire. 117 is not commonly found, but can function as a constant structure chord n of 147. It (especially in tunes with a 17 blues tonic), or as @ reharmor typically progresses to IVMaj?. WVI7 can be thought of as an altered subdominant minor chord. It usually departs from and returns to IMaj7 or I-7. + Fred Hamm/Dave Bennett/Bert Lown/Chauncey Gray, “Bye-Bye Blues" ‘+ Duke Ellington, “Sweet Zurzday ‘© Thelonious Monk, “I Mean You" + Herbie Hancock, Zanteloupe Island” VII7 can function as a reharmonization of the tonic auxiliary diminished, 1°7. When used as such, it is sometimes preceded by a related 11-745. It returns to IMajz. ‘+ Dizzy Gillespie, “Groovin’ High” ‘+ Antonio Carlos Jobim, "Meditation" + Jazz harmonizations of Victor Schertzinger and Johnny Mercer's “I Remember You" and Victor Young's “Stella By Starlight” Finally, any combination of these chords and/or other dominants in a non-resolving constant structure pattern. Summary of Special Function Dominants + any dominant chord other than V7 or subV7 that does not resolve down a fifth or down a half step ‘either a Mixolydian or Lydian dominant chord scale is appropriate. APPENDIX B