2287 / 18210 · Workshop 3 — I–vi–ii–V: Turnarounds, Standards, and Making Four Chords Do a Lot← prev⊞ allnext →
3.66Passing diminished between I and ii
Try:
Cmaj7 → C♯°7 → Dm7 → G7
This omits vi entirely.
Yet function remains:
tonic → chromatic approach to predominant → dominant.
A chord can be removed and still preserve the phrase.