When in a major key, the iv as I borrowed chord from the parallel minor key is an effective and common harmonic practice. However, This video simply changes the IV chord typically found in a major key to a dominant seventh chord. One possible way to rationalize the IV chord as a dominant 7th Is to think of it as a secondary dominant. For example, the Gb7 could be functioning as a V/bVII (or V of the Cb). However, modal mixture is still involved here as the bVII is also borrowed from the parallel minor scale (natural form).
Im grateful to see the methodology to create the sweet sounds. The theory is like a tough crossword puzzle for me, understandable after seeing the answers... THANKS for the theoretical explanation to the other comment!!!
I guess in my mind I always characterized this as borrowing the ivm7 i.e. Dbmaj7 leads to Gbmin7. I'll have to think about the difference.
When in a major key, the iv as I borrowed chord from the parallel minor key is an effective and common harmonic practice. However, This video simply changes the IV chord typically found in a major key to a dominant seventh chord. One possible way to rationalize the IV chord as a dominant 7th Is to think of it as a secondary dominant. For example, the Gb7 could be functioning as a V/bVII (or V of the Cb). However, modal mixture is still involved here as the bVII is also borrowed from the parallel minor scale (natural form).
Im grateful to see the methodology to create the sweet sounds. The theory is like a tough crossword puzzle for me, understandable after seeing the answers... THANKS for the theoretical explanation to the other comment!!!