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The diagram below will make this clearer. The complete backcycling
process goes like this. "I'm playing along and I see a Dm7 chord. I
decide to throw in a secondary dominant in front of it. I think to my self,
what note is a fifth above D. It's A. So I get ready to play an A7. But wait,
why don't I add more movement and backcycle. Ok, A7 is the V chord of
D Major (and often D Minor*). Now, what's the two chord of D Major (of
Minor). Em. I'll extend the chord and play an Em7. The Em7 - A7
combination is the IIm - V chord progression in the key of D Major (or
Minor.)"
This is a lot to be thinking about seeing how I had only had two beats to
do it in. Like most of music, you really don't think about it. You just
practice it until it is automatic.
* The dominant seven chord is often substituted for the Vm that occurs
in the Natural Minor scale.
When backcycling you are always looking one or two chords changes ahead and
thinking what chord gets you there.
Below is a chart showing IIm - V7 combinations in all keys and the root
of the tonic chord the V chord resolves to. Remember, the tonic chord
could be either major or minor.
This backcycling technique is based on the sequence of notes as they appear
on the circle of fifths. If you can visualize this wheel in your head, you'll be a
backcycling wiz.
NOTE: In the example at the top of the page we backcycled to from Dm7 to
Em7, however, we could continue the process further in two ways. 1) We
could continue to backcycle from the A7 and insert an F#m before the Em7.
This creates a IIIm-VIm-IIm-V progression in the key of D Major. 2) We could
backcycle from the Em7 and insert F#m - B7 in front of it. In either case, It
may not be practical to add so much movement. It may be too much of a good
thing. As always, your ear is your guide.