![]() Gm7 is the ii chord of F and C is the perfect fifth of F. Instead of just playing C7 in bar six, we play Gm7 over C. C is the target of Db in any context as we chromatically walk down from Dm in bar 4, through Db, to get to C. This is a lot easier to understand than C7sus9 sus11 and lets us see how we are going back to F as the I chord. If that isn’t fancy enough, the song then uses a slash chord in bar six. Db7 is a Secondary chord because it is not diatonic to our original scale. In this case C is the target and Db7 is the TriTone Sub. A TriTone Sub is just a Dominant chord that is a half-step above a targeted chord. This is the Secondary TriTone Substitute of C. This is the Chromatic Sub-Mediant and lets us use DbMaj7 as a way-point between Dm and C7. Db can be a DbMaj7 borrowed from F Aeolian. We need to get back to F as the I chord, so C7 to F will help us Tonicize F. A7 to Dm also makes it feel like Dm is the i chord, which causes F to act as the bIII chord. Playing A7 to Dm Tonicizes the note D and makes Dm feel like the true Tonic end chord for a moment. A7 is the Secondary Dominant of Dm and is notated as V7/vi because it is the “V7 of” our vi chord. If we played C7 to Dm in bar four, then we would just play the Diatonic Dominant chord before Dm because the dominant chord C7 is diatonic to F Ionian. We play F Ionian’s I, ii, and IV chords and then walk back down with iii, ii, I.īar four uses A7. The first three bars are straight forward. Looking at just the first eight bars of “What A Wonderful World” in F major gives us quite a lot of movement to analyze.
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