#150560  by BOUKINATOR
 Wed Jan 13, 2016 9:25 pm
Hey theory people. Curious how you think the A°7 chord functions (with roman numerals) resolving to the I.

i.e.
#ii°7? #iv°7?

I have a hard time labeling that D# a passing tone with the chord happening on strong beat.

On a side note, a GREAT song to practice playing solos over chords :)
 #150561  by Lephty
 Wed Jan 13, 2016 11:30 pm
That is a strange one for sure, and I have always wondered about it. I actually think of it as D#dim (which is enharmonic with, aka the same as, an A dim, so the #iv dim in this case). The more typical use of that chord would be D > D#dim > E, in which case it would be called the viidim/V (vii dim of the V chord)--and that may indeed be what it is here, except that they just skip the V chord (E) and go straight back to the I (A). It sounds to me like it works in this case because the D# resolves up to the E (the 5th of the A chord) and the C resolves up to the C# (the 3rd of the A chord). So it's not a standard function for a diminished chord, but it does work.

Now that I think about it, that same kind of thing happens in a jazz blues progression--check out this page, scroll down to the "Count Basie Blues": http://www.jazzguitar.be/jazz_blues_cho ... sions.html. Could be where Garcia got the idea!

One thing for sure, it sounds good...and that's what really matters I guess.