#1
Dmaj7 -> A#/Bbsus2/F -> F-> G#/Ab -> G6

Please, I challenge you to find the key of this progression. It's repeated many times, and these are voicings of the chords above in order:

Dmaj7: -57675
A#/Bbsus2/F: 113311
F: 133211
G#/Ab: 466544
G6: 355400

G#/Ab and A#/Bb are left ambiguous because otherwise it would be a hint.

So go on, look at the notes and figure out which scale they fit in.
i don't know why i feel so dry
Last edited by Eastwinn at Aug 30, 2010,
#2
Just a guess, but the Bsus2/F to F really sounds like a resolution to the tonic, so I'm going to go with F major, although I am probably horrendously wrong.
#3
I hope you do mean A#sus2 instead of Bsus2/F.

I'm going with D# major, no real reason why though.
You who build these altars now

To sacrifice these children
You must not do it anymore
#4
Quote by the bartender
I hope you do mean A#sus2 instead of Bsus2/F.


fixed
i don't know why i feel so dry
#5
My guess G major, but I'd feel more confident if I actually had a guitar on me :/
#6
The progression doesn't make any sense. The move from Dmaj7 to Fsus4 doesn't sound convincing, neither does the Ab - G6 as it needs resolving to C but instead goes back to Dmaj7.
#7
Quote by Eastwinn
Dmaj7 -> A#/Bbsus2/F -> F-> G#/Ab -> G6

Please, I challenge you to find the key of this progression. It's repeated many times, and these are voicings of the chords above in order:

Dmaj7: -57675
A#/Bbsus2/F: 113311
F: 133211
G#/Ab: 466544
G6: 355400

G#/Ab and A#/Bb are left ambiguous because otherwise it would be a hint.

So go on, look at the notes and figure out which scale they fit in.


is this a test for us, or is it something you need help with?
shred is gaudy music
#8
Quote by griffRG7321
The progression doesn't make any sense. The move from Dmaj7 to Fsus4 doesn't sound convincing, neither does the Ab - G6 as it needs resolving to C but instead goes back to Dmaj7.


I think it sounds awesome. Kind of Incubus like.

Munky: It's a test.
i don't know why i feel so dry
#9
Quote by Eastwinn
I think it sounds awesome. Kind of Incubus like.

Munky: It's a test.


Oh okay,
Well, Im not going to try and guess where you're coming from on this, but I am interested to hear your analysis of it.
shred is gaudy music
#10
I'm gonna go with C. I'd like some more context though. Chord duration, anything?

Quote by griffRG7321
The progression doesn't make any sense. The move from Dmaj7 to Fsus4 doesn't sound convincing, neither does the Ab - G6 as it needs resolving to C but instead goes back to Dmaj7.
I agree with the Dmaj7 - Bbsus2 but I think the Ab - G6 sounds very convincing.

Also, a chord progression doesn't need to repeat starting on the tonic. Look at a ii V I. Repeat it over and over, and the resolution is still convincing.

Then again, that's a different story because it actually does end up on the tonic, just not when it starts over. So disregard that then.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#11
Quote by food1010
I'm gonna go with C. I'd like some more context though. Chord duration, anything?

I agree with the Dmaj7 - Bbsus2 but I think the Ab - G6 sounds very convincing.

Also, a chord progression doesn't need to repeat starting on the tonic. Look at a ii V I. Repeat it over and over, and the resolution is still convincing.

Then again, that's a different story because it actually does end up on the tonic, just not when it starts over. So disregard that then.


I meant the Ab-G-Dmaj7, the Ab-G bit is fine, sounds like a borrowed bVI, doesn't sound right going back to Dmaj7 though.
#12
Quote by griffRG7321
I meant the Ab-G-Dmaj7, the Ab-G bit is fine, sounds like a borrowed bVI, doesn't sound right going back to Dmaj7 though.
Oh I see. I agree, I feel like the Dmaj7 is out of place.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#13
I vote Bbmaj, haven't really thought it through, it just feels right
On a side note, I the Dmaj7 doesn't bother me as much as the G6, that E really sounds like crap to me.
#14
Quote by malephik
I vote Bbmaj, haven't really thought it through, it just feels right
On a side note, I the Dmaj7 doesn't bother me as much as the G6, that E really sounds like crap to me.
Hm I didn't think of Bb major. That actually seems to work pretty well. I guess it all comes down to the melody and what not.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#15
If you replace the Dmaj7 with CMaj7 you have a progression that is clearly in C.

As is, it sounds like a non-function set of chords. certain parts hint at a tonic but the context as a whole defeats those attempts. IMO


Id like to hear eastwinns analysis. It's pretty clear that all we can do is guess where he's coming from, and no-one has figured it out yet.
shred is gaudy music
Last edited by GuitarMunky at Aug 30, 2010,
#16
Quote by GuitarMunky
If you replace the Dmaj7 with CMaj7 you have a progression that is clearly in C.

As is, it sounds like a non-function set of chords. certain parts hint at a tonic but the context as a whole defeats those attempts. IMO


Id like to hear eastwinns analysis. It's pretty clear that all we can do is guess where he's coming from, and no-one has figured it out yet.


+1
#17
I'm leaning towards A major.

Dmaj7 -> A#/Bbsus2/F -> F-> G#/Ab -> G6

IV maj7, bII sus2, bVI, VII, bVII6

Would be how I'd see it (for now at least )
Quote by DiminishedFifth
Who's going to stop you? The music police?
Last edited by FacetOfChaos at Aug 30, 2010,
#18
Quote by GuitarMunky
Id like to hear eastwinns analysis. It's pretty clear that all we can do is guess where he's coming from, and no-one has figured it out yet.


I've been on the fence about it for a long time and I was hoping you all could confirm my suspicions. At the same time, who doesn't like a puzzle?

I came up with the progression blindly and later noticed that it contained all 12 notes in it. So I saved it away. If you all would like more context, here is how I play it:



EDIT: I'd also like to add that the way I named the chords is based on first glance at voicings. There are no guarantees that I have identified the root correctly.
i don't know why i feel so dry
Last edited by Eastwinn at Aug 30, 2010,
#19
Quote by Eastwinn
I've been on the fence about it for a long time and I was hoping you all could confirm my suspicions. At the same time, who doesn't like a puzzle?

I came up with the progression blindly and later noticed that it contained all 12 notes in it. So I saved it away. If you all would like more context, here is how I play it:

(Invalid img)

EDIT: I'd also like to add that the way I named the chords is based on first glance at voicings. There are no guarantees that I have identified the root correctly.
Looking at that, I'm gonna have to go with G major. The fact that the Ab is so short changed everything. If it had a whole measure of its own it would feel like a bVI going to the V, but since it was so quick it just sounds like a chromatic thing, similar to the tritone sub (in fact, it is a bII, just a triad though).

That leaves us with a Vmaj7 bIIIsus2 bVII I. Pretty basic if you ask me (just some simple substitutions). I'm not even going to count the Ab since it has hardly any harmonic function at all.

Goes to show that it's not all about what notes you use, it's also about how you use them.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
Last edited by food1010 at Aug 30, 2010,
#20
I see it as two keys.

Dmaj7 = D Major

Bbsus2/F to F = D Minor/F major - Borrowed chords from the Parallel minor (bIII and bVI)

G# to G6 = Passing chord to G which resolves back to D, making the G the V of D major.

I haven't played it, but this is what I think at first glance.

Best,

Sean
#21
Quote by Sean0913
G# to G6 = Passing chord to G which resolves back to D, making the G the V of D major.
G is the IV of D.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#23
^ I make that exact mistake on probably a daily basis. XD
i don't know why i feel so dry
#24
It's pretty chromatic if you just look at the notes.
Sounded pretty crappy when I put it in my sequencer for a test, but pretty good on my accoustic..

But yeah, that bB/F sus2 could just as easily be called F sus4.. especially since you get in a F Major after that.

Trying to figure out the key.. it has the notes but definitly doesnt sound chromatic.
I have a method of figuring out keys or scales when the notes look like they're chromatic or have a lot of halve steps and dont seems to be very obvious what it is.. It's kinda arbitrary and I dont really have a lot of theory backing this, but it mostly works for me. Well, annyway, this is how I try to figure it out.

1)I diregarded the G# and bE from the G# Major, as that sounds like a borrowed chord, kinda out of place and it only features once for an 1/8th note, so it's more a passing
chord if any.

2)Disregarded the bB from the Fsus4. Sus chords dont need to be tonalized as much as their parent triads need to be, the A in F Major is more important.

3)Between B, C and C#.. I think the C# is a non chord tone and the non-altered chord of D would be D7 instead of DM7, as B and C are vital notes, C# only occurs once in DM7 and scales normally dont contain two halve steps after each other. So scratch through the C#..

4) That leaves us with the following notes, counting from A, with A, B, C, D, E, F, F#, G, (A). Or in steps, W H W W H H H (W). Three halve steps usualy mean one of the notes is borrowed. Looking at it, either the DMaj7 is borrowed and would non-altered be Dmin7, or FMaj is borrowed. I'm leaning on the F being borrowed. F Maj notes being F A C, if it would be F# A C it'd become dimminished. It's a common trick to lower the tonic of dimminished chords and have a borrowed chord so it'll sound major rather than dimminished.

5) Depending on the status of the F/F#, it's either in G Major with the progression being V7 - VIIsus2 - VII - bII - I6 - I6/6
or it's C Major with the progression IIMaj7 - IVsus2 - IV - V# - V6 - V6 / 6

6) Seeing as there is no C Major in the prog, it ends on the (supposed) I and begins on the (supposed) V, I'm thinking G Major. But you can have a cool trick to suddenly change the melody to C Major over the same chords for a neat suprise.