![]() ![]() Sometimes it’s hard to exlpain why something sounds pleasing to the ears, and this is an example of that because C-7 to A7 is not a conventional harmonic cadence or resolution, but because we have just strung together 3 unrelated minor chords to reharmonise the melody, we have created a lot of tension and so when we hit that A7sus it releases some of the tension we have just built up. ![]() When we build voicings from 4ths they have a very tense and angular sound which gives us more freedom on how we can resolve. So What Chords, and other quartal voicings, are harmonically ambiguous. Onto your next question about the resolution from C so what to A7… We are also keeping the melody intact and so we hear that melody ring out above the voicings which keeps arguably the most important aspect of the song intact – the melody. An analogy here is like a poem which rhymes, the similarity in sound makes it flow smoothly. This is becuase our ears hear the exact same voicing and chord colour (minor 11), but in different places on the piano. When we move the exact same voicing shape around the keyboard, it always sounds pleasing. When we do this, we take the melody line and build a so what chord under each melody note so that the melody stays intact.įirst to answer you question on “the logic behind movements such as F so what, Ab so what, and C so what: We can use So What Chords to reharmonise a melody line.
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