Weird Chord Progressions

[rahul_mukerji]

I was playing with the idea of ii-V-I when late at night this just happened. Its got some weird chords and a weird progression, but it seems to work. I wasn't looking to make it weird, but just came to be.

Anyone ever have those experiences ?

So I recorded it: Music Page look for Memories from the Acacia Tree in the music player.

I tabbed it out (well sorta) Tab

Thought I'd share it here to see if anyone else has some weird things like that.

 

[telecaster90]

I don't have time to listen to it right this second, but I took a look at the chart. Solid changes

 

[Luan]

You have the D#°7 (which can be thought as B7) that resolves into Em, then a II V I in D major, then a bVII (modal interchange), I again, then bVImaj7 (modal interchange again, try to write it as Bb rather than A#), then you use a line cliche on all the A# (Bb) something, and the last 2 chords can be analyzed as 2 chords of the same structure.
My analisys, in case you wanted it
Good chords progression!

 

[JakeRI]

sounds good, major point: for major 7 chords you write A#M7 not A#7M,

its very pretty though, best as a solo piece, like how its played IMO, really cool voicings.

You have the D#°7 (which can be thought as B7) that resolves into Em, then a II V I in D major, then a bVII (modal interchange), I again, then bVImaj7 (modal interchange again, try to write it as Bb rather than A#), then you use a line cliche on all the A# (Bb) something, and the last 2 chords can be analyzed as 2 chords of the same structure.
My analisys, in case you wanted it
Good chords progression!

also, to elaborate, the d#dim acts as a b7 (b9 b13) just in case you (not Luan ) missed the connection.

 

[All_¥our_Bass]

Gmaj7 Bbmaj7 Gmaj7 Bbmaj7 Amin7 Cmin7 Ddim7 Ebmin7 Ddim7 Cmin7 Ddim7 Ebmin7 F7

Lather, rinse, and repeat as desired.

 

[JakeRI]

Gmaj7 Bbmaj7 Gmaj7 Bbmaj7 Amin7 Cmin7 Ddim7 Ebmin7 Ddim7 Cmin7 Ddim7 Ebmin7 F7

Lather, rinse, and repeat as desired.

that gmaj7 to Bbmaj7 is straight bright size life by pat metheny

 

[rahul_mukerji]

Ah sweet !! I'm gonna have to read those slowly and digest what you guys interpreted. Thanks so much for the analysis. Thanks Jake, I didn't quite know how the Diminished chord acted as a flat 7th. I should read on substitutions and such. Wow this is interesting.

I'm gonna go home and try the progression that All_¥our_Bass mentioned.

Thanks again people !

 

[Luan]

The notes of D#°7 are D#, F#, A, and C.
The notes of B7(b9) are B, D#, F#, A and C.
Basically, a dim7 chord can function as a dominant chord (major triad with b7), you have the root of the dominant a major third down of the root of the diminished chord.
I hope it's clear, my english sucks.

 

[rahul_mukerji]

No, your english does not suck. Thanks for that explanation. I should definitely study some chord voicings and substitutions. I still play by ear and go with "what sounds best". Thats why I can't really analyse my tunes.

But reading all the analysis you people gave has made me want to read theory and try and understand why somethings sound good.

Thanks a ton again !

 

[Luan]

Get the berklee harmony books, they will help you a lot since you are interested in jazz harmony. Google will help you

 

[JakeRI]

yeah, luan knows whats up