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6.18.7 How to Write Chord Progressions, Rule #7: Take Advantage of Major Triad Consonance to Progress to Chords Built on the Same Root
Progression from consonance to dissonance works.
Moving from a major triad to any other chord built on the same root sounds palatable to the ear.
For example:
C – C9
or
C – Cm7
A major triad is a consonant chord, so moving from a consonant chord to a dissonant chord (i.e., any chord except a major or minor triad) built on the same root (in the above examples, the root is the note C) does not introduce the potential problems of harmonic confusion that dissonant-to-consonant progressions (built on the same root) create, such as C7– C or C7–Cm.