It's in almost every bluegrass song, but I've never seen an exposition of the theory behind the major chord (minor may also be used, but I don't think I've seen it) built off of the flat 7th of the tonic.

I mostly see it preceeding majors built off of the tonic's 4th. Is that the only way to resolve its' dissonance?

It's in almost every bluegrass song, but I've never seen an exposition of the theory behind the major chord (minor may also be used, but I don't think I've seen it) built off of the flat 7th of the tonic.

I mostly see it preceding majors built off of the tonic's 4th. Is that the only way to resolve its dissonance?

It's in almost every bluegrass song, but I've never seen an exposition of the theory behind the major chord (minor may also be used, but I don't think I've seen it) built off of the flat 7th of the tonic.

I mostly see it proceeding majors built off of the tonic's 4th. Is that the only way to resolve its' dissonance?

It's in almost every bluegrass song, but I've never seen an exposition of the theory behind the major chord (minor may also be used, but I don't think I've seen it) built off of the flat 7th of the tonic.

I mostly see it preceeding majors built off of the tonic's 4th. Is that the only way to resolve its' dissonance?