#1
Could you guys help me analyze this chord progression?

|Abm11| |Bb7b9| |AbMaj7/C| |Cadd9| |Bb7/C| |B| |Am7/D or (D9sus4)| |G7b9|

I just want to know why it works and what's going on.
I'm going to start analyzing it in the morning as soon as I wake up and then I'll compare it to what you guys think

I don't know what song it's from but this section is supposedly a "climb up"

the chords in the section before it, to keep it in context, are:

|Am9| |F#m7b5| |Fmaj7| |E7#9| |E7#9| |Dmaj7|

Thanks guys!

EDIT: I understand the bottom group of chords, at least aurally, I mean I can hear what's going on, but I don't understand it as letters and numbers and intervals, but I haven't sat down and tried to figure out the notes, especially since it's 3:00 am lol, but I'll work on that too


EDIT 2: I changed the name of the notes to Ab, thanks for helping me out!
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
Last edited by TDKshorty at Apr 23, 2011,
#2
You're better off spelling the G#'s as Ab's to stay consistent with the tonality.

You can also break this down into its essentials:

Abm Bb7 Ab/C C Bb B Dsus4 G7

seems to be more modal than tonal since Bb7 doesn't act as a dominant to Eb or A natural. And although it starts with a minor chord I suspect it is actually in C major:

bVI- bVII7 bVI/3rd Imaj7 bVII7 VII (you sure this isn't a dim or dom chord?) Vsus4/V V7

assuming you listed the correct chords...

...modes and scales are still useless.


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Last edited by Xiaoxi at Apr 23, 2011,
#3
I'm trying to pick out the notes in each chord

Would Abm11 be Ab Cb Eb Gb Bb Db?


EDIT: Are these the right notes for each chord?

Abm11: Ab Cb Eb Gb Bb Db

Bb7b9: Bb D F A B

Abmaj7/C: Ab C Eb G

Cadd9: C E G Db

Bb7/C: Bb D F C

B: B D# F#

Am7/D: A C D E G

G7b9: G B D F Ab
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
Last edited by TDKshorty at Apr 23, 2011,
#4
EDIT: Are these the right notes for each chord?

Abm11: Ab Cb Eb Gb Bb Db
Yep, but the Bb adds a 9th

Bb7b9: Bb D F A B
A nat is the major 7th of Bb. B should be Cb for tonal consistency.

Abmaj7/C: Ab C Eb G
Yes in terms of conceptual harmony, but this should be voiced so that C is on the bottom.

Cadd9: C E G Db
Db is the minor 9 of C. Thisis most likely a C7b9.

Bb7/C: Bb D F C
If the C is in the bass following the C chord, this could imply a pedal tone. Otherwise it's a Bb7(9).

B: B D# F#
yep

Am7/D: A C D E G
The voicing here implies an Am7(11) with the D being the 11th extension of A.

G7b9: G B D F Ab
Yep!

...modes and scales are still useless.


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Last edited by Xiaoxi at Apr 23, 2011,
#5
Quote by Xiaoxi
EDIT: Are these the right notes for each chord?

Abm11: Ab Cb Eb Gb Bb Db
Yep, but the Bb adds a 9th

Bb7b9: Bb D F A B
A nat is the major 7th of Bb. B should be Cb for tonal consistency.

Abmaj7/C: Ab C Eb G
Yes in terms of conceptual harmony, but this should be voiced so that C is on the bottom.

Cadd9: C E G Db
Db is the minor 9 of C. Thisis most likely a C7b9.

Bb7/C: Bb D F C
If the C is in the bass following the C chord, this could imply a pedal tone. Otherwise it's a Bb7(9).

B: B D# F#
yep

Am7/D: A C D E G
The voicing here implies an Am7(11) with the D being the 11th extension of A.

G7b9: G B D F Ab
Yep!


Hey, thanks, I guess I got them all right with the exception of the Cadd9, but I didn't apply voicings, I just wrote down the notes in their original order.

But I do have a question, because I am a novice at this, when I write an inversion will I always write/play it with the inversion note on top and the notes following subsequently

like the Abmaj7/C would really be (C, Eb, Gb A).
I mean are all inversions like that? Say Eb's in the bass, would it be (Eb, Gb, A, C) or if you added a fourth or something it would (Db, Eb, Gb, A, C)

Is that correct?
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#6
The lowest chord tone in the voicing determines what kind of position the chord is in.

The basic four part chord has a root position and 3 inversion.

root: Ab C Eb G
1st inv (starting on its 3rd): C Eb G Ab
2nd inv (starting on its 5th): Eb G Ab C
3rd inv (starting on its 7th): G Ab C Eb

These are closed voicing, meaning they are voiced using the next closest chord tones. These are generally harder to play on string instruments because of how close the intervals are.

More often used are open voicings, in which regardless of which chord tone is in the bass and that still determines the position, the upper notes of the chord can be arranged in any way, eg G C Ab Eb.

If there are extensions in the chord, the same concepts apply.

...modes and scales are still useless.


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#7
|Abm11| |Bb7b9| |AbMaj7/C| |Cadd9| |Bb7/C| |B| |Am7/D or (D9sus4)| |G7b9|

I'd read this as 1 key, C - if that's too liberal, then 2 keys - Eb till the Ab-C change, and C the rest of the way.

bvi bVII - Back to bVI - This (Ab) is bVI for C major (modal interchange- actually all these chords up to this point are modal interchange) - So from Cadd9 it's I - bVII - VII (as a passing chord most likely) vi to V7 in the Key of C.


This is not Ab Maj 7 - (C, Eb, Gb A). -

Correct: (C, Eb, Gb Ab) = Abmaj7 in 1st inversion.

Best,

Sean
Last edited by Sean0913 at Apr 23, 2011,