Tomo Fujita Guitar Wisdom

I am curious as to the theory behind this lesson, more so understanding the theory behind the Fm7 and Edim7 chords we see. From what I understand about the diatonic 7th chords in this sequence, those two chords shouldn’t be included/ work - but they do. I would usually expect the Fm7 to be the usual F7 we see in the I, IV, V chord progression and also would expect the Edim7 not work in this progression.. as it doesn’t fit into the diatonic 7th sequence based of the major scale.

Why can you play these two chords in this progression, despite them being outside of the usual sequence of chords in this scale?

I hope I have phrased that correctly as I am curious as to why these chords do work so well in this progression.

Thank you in advance. Loving the course!

Jack

Here is Tomo's reply:

"Thank you so much for your passion. Sometimes diatonic theory won’t apply exactly to real musical examples. Still, foundation is very important for us, so that we can understand good music. In this case, you are talking about Bb Jazz Blues and jazz substitution (re-harmonization). F-7 to Bb7 is a more sophisticated sound than just Bb7. Edim7 is a connection (chordal tension) between Eb7 and Bb7. E7 is a sub chord for Bb7 (F-7 Bb7…. F-7 E7). I will make lesson videos on using a more jazzy chord approach. The best thing to do is learn as much as you can in one lesson video, and if you cannot do something … don’t worry about it!"