Fm7Bb7E

Fm7Bb7E is a three-chord sequence consisting of F minor seven, B-flat seven, and E major. In common shorthand it is written as Fm7 – Bb7 – E. The progression is sometimes encountered in jazz and fusion contexts as a coloristic device or a tonal move that challenges a straightforward key center.

The first two chords form a classical ii–V sequence in the key of Eb major: Fm7 functions as the ii, and Bb7 as the V. Rather than resolving to Eb, the progression moves to E major, creating a chromatic mediant-like effect and a pivot to a different tonal center. The root movement from Bb7 to E is a tritone relationship, which contributes to the sense of tension and a decisive, bright resolution when the final chord lands on E.

The Fm7–Bb7 portion commonly shares tones with the Eb major ii–V, which helps smooth voice leading into the E major area. Some players treat the progression as a synthetic modulation or a coloristic approach to E major, rather than as a strict tonicization of Eb.

Usage and variations: This sequence appears as a turn, passing progression, or momentary tonicization in jazz, fusion, and related styles. Depending on arrangement, the final E can be voiced as E major, E7, or with extensions (such as Emaj7) to suit the harmonic context.

Notes on notation: Ab is often played as G# in leaders or resolving lines, and Eb can be voiced as D# in certain contexts. The essential idea is the chromatic shift from a ii–V family toward a final E-based harmony. See also ii–V progressions, chromatic mediants, backdoor progressions, and tritone relationships.