CW32

By setting Fifth Beatle tetrachords over different bass notes you can get these cool little internal dominant/tonic cadences.

The tritone between B and F provides the business side of a G7, but the C is already in the bass. Since college, I’ve called this, a V7 over the pedal of the tonic it’s headed to (or not), the “classical chord,” and used it often. Here, once it resolves, you get the implication of a G7 to a Cm7, all over C. And, of course, you get the Fifth Beatle sound—everything above the bass is that vibration.

Using the Fifth Beatle again, you can get to major, from the same tritone, two ways.