Why does D in the chord progression "Cm Eb F Bb7 C D" sound correct?
I'm writing a song in C Aeolian/Dorian (the verses are in Aeolian and the chorus is in Dorian). And I came up with a weird chord progression for the end of my chorus:
Cm Eb F Bb7 C D
My question is why does the D sound right at the end? Usually, songs end with a tonic (I, vi, etc.), but the D here, as far as I can tell is a dominant of a dominant (V/V). It's the dominant of G which is the dominant of C. Just looking at this progression, it wouldn't seem like the ending would sound resolved, but when I play it, it sounds great. Can anyone explain the theory behind this?
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Out of context, the progression seems to establish Bb major as a tonic, then plane up to D. It could continue further - try my first suggestion! Or we could return to functional harmony and resolve the D to Gm.
A lot of music is functional, all about dominants and tonics. A lot isn't. And a whole other lot is a mix. You can go mad trying to find a functional justification for an ending like Bb, C, D - but it's very popular! Just let it be 'planing' - the same chord shape shifting up or down in pitch. Semitone planes work as well, Bb, B, C is another popular ending (in the key of C). Don't sweat over justifing the Bb as a functional harmony - just accept it as 'two under C' so a good starting point for a plane ride up to C.
Take in the message of the first part of this answer, and the first musical example. Yes, it's possible to end satisfyingly on D. But it's JUST as satisfying to carry on up to E! In functional harmony, you KNOW when you're home. In this freer style, free from the tyrrany of the leading-note, there's a wider choice of resting points.
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