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Thank You!
Last edited by kaguns; 06-09-2020 at 01:09 PM.
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06-09-2020 05:25 AM
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I C Am7 Gm7 C7 I Fm7b5 B7 Em7 A7 I Dm7 G7 CMaj7 A7 I Fm6/Ab G7 C I
I CMaj7/G A7b9/G Dm7/G G7b9 I CMaj7/G A7b9/G D7/G G7b9 I Em/D A7/C# Dm/C G7/B I C/Bb A7 Fm6/Ab G7 I
I F#m7b5 Fm6 Em7 Eb7 I Dm7 Db7 Cadd9 A7 I Dm7 G7 Bb7 A7 I Ab7 G7 C I
I've sort of done it according to your bar lines.
C - Am7 - Gm7 - C7
Fm7b5 - B7 - Em7 - A7
Dm7 - G7 - CM7 - A7
Fm6 - G7 - C
The orange Gm7 - C7 is a ii-V in F.
Is that Fm7b5 supposed to be F#m7b5? If so, it's all in C except for the red bit in Em.
The Fm6 is a familiar sub where the IV chord (F) is made a m6. The D (instead of Eb if it were Fm7) makes it more compatible with the key of C major.
CM7 - A7b9 - Dm7 - G7b9
CM7 - A7b9 - D7 - G7b9
Em - A7 -Dm -G7
C - A7 - Fm6 - G7
Is that blue D7 supposed to be Dm7? or D7?
Anyway, it's still all in C with a secondary dominant (A7 and possibly D7) and the IVm (iv6).
F#m7b5 - Fm6 - Em7 - Eb7
Dm7 - Db7 - C - A7
Dm7 - G7 - Bb7 - A7
Ab7 - G7 - C
This is just a chromatic progression but still basically in C. It contains the IVm (iv6) and some tritones, secondary doms, chromatic shifts, but it's still in C.
I wouldn't analyse it further than that. Analysing it isn't going to make it easier to play!
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Nice work, Ragman!
Kaguns,
Welcome to the Forum (this is your first post)!
Most chord progressions have a melody that goes along with them, and the melody can tell us what's happening harmonically. What is the song??
Marc
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Absolutely. I was going to say the melody matters too. You can tell a lot from the melody.
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Thank you!
D7 is D7 in bar 6.
How would you analyze it further?
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If that’s supposed to be one chord per beat, my analysis is that it is ridiculously busy. Overall, it goes I-V-I. What more do you need to know?
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Originally Posted by kaguns
What do you want to gain by analysing it? Why are you analysing it at all?
(You didn't answer the other questions. What about the F or F#m7b5 in your bar two? And is there a melody? And, if that is one chord per beat, I agree with pcjazz , it's far too complex unless it's going very, very slowly)
(edit)
I do recommend you answer all the questions right away as they appear otherwise they'll build up and we'll all get hopelessly lost.Last edited by ragman1; 06-09-2020 at 08:53 AM.
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In bars 5 and 6, would you say that there is 1-6-2-5 turnaround over G bass?
Thanks!
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You mean this?
CMaj7/G A7b9/G D7/G G7b9
Obviously, but why is there a turnaround in the middle of the tune? *
I'm not going to answer odd questions. Answer all of them or forget it!
* See, now we've got another one
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I C Am7 Gm7 C7 I Fm7b5 B7 Em7 A7 I Dm7 G7 CMaj7 A7 I Fm6/Ab G7 C I
I CMaj7/G A7b9/G Dm7/G G7b9 I CMaj7/G A7b9/G D7/G G7b9 I Em/D A7/C# Dm/C G7/B I C/Bb A7 Fm6/Ab G7 I
I F#m7b5 Fm6 Em7 Eb7 I Dm7 Db7 Cadd9 A7 I Dm7 G7 Bb7 A7 I Ab7 G7 C I
Bunch of assorted turnarounds and cadences. All common within the standards repertoire.
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C Am7 Gm7 C7 - it's a fancy way of going C C7
F#m7b5 B7 Em7 A7 | Dm7 G7 Cmaj7 - long turnaround in C - see the last few bars of Green Dolphin Street
Fm6/Ab G7 C | - inversion of Dm7b5 G7 C
Do the others when I feel motivated
L-5, L-50, ES-150 questions
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