#1
I wrote a progression that goes like this:

2 3 5 2
3 2 5 2
4 4 7 3
4 4 7 4
- - - -
- - - -


So I see it as Bm -> ? -> Asus4 -> F#(secondary dominant)
I'm not sure what the second chord is.
#2
2nd chord: as it stands, F#sus b9 (F#, because of 5th from F# to C#).

Function-wise ... could be seen as a dominant that isn't resolving as expected.

If you added an E in the bass, then it would become E13#9 (ish), and then would be functioning to resolve to 3rd chord.
#3
Not every chord is functional, but if you're drawing them out, they're Bm/F#, Gmaj7-5/F#, Asus4, F#.

It's easier to read horizontally next time, i.e. write xx4432 instead.
Last edited by NeoMvsEu at Nov 20, 2015,
#5
I don't know, it's really hard to get a Gmaj sound with F# in the bass. The notes kind of add up to it, but it's not the sound. I'm getting more of the F#b9 sus. I think a V of any kind is more plausible than a maj7#11 in third inversion with the root a m9 above the 7th.
Last edited by cdgraves at Nov 19, 2015,
#6
^ That, I'll leave to the bass to decide

i-VI-VII-i is common in modern practice, which is why I suggested it despite possible better voicings of chords.
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lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#7
^ The last chord is F#, not Bm. x x 4 3 2 2

I also heard the second chord as some kind of a dominant.
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#8
Misread, will edit - thanks MM!
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#9
F#7sus4(b9).

It's a real chord, you just rarely see it voiced the way OP has it, with the tritone up top.
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#10
Quote by NeoMvsEu
^ That, I'll leave to the bass to decide


If that's a i VI VII, then the F# is one ballsy pedal tone

Quote by MaggaraMarine


I also heard the second chord as some kind of a dominant.


3-2 upper voice movement with 5 in the bass really sets up the dominant expectation.
Last edited by cdgraves at Nov 20, 2015,
#11
If you play B E E F# (yum) with a bass instrument under said guitar fiddling, it changes the middle two chords.
#12
Quote by NeoMvsEu
Not every chord is functional, but if you're drawing them out, they're Bm/F#, Gmaj7-5/F#, Asus4, F#.

It's easier to read horizontally next time, i.e. write xx4432 instead.



Did you maybe mean to say Gmaj7 b5/F# is of "Gmaj7-5/F#"?
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#13
They're equivalent.
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#14
Quote by NeoMvsEu
If you play B E E F# (yum) with a bass instrument under said guitar fiddling, it changes the middle two chords.


Think I'd leave them to argue it out, and me ... I'd happily eat the beef (medium rare, with a little horseradish). :-)