How would you describe this chord progression?

[Functional]

Wish I had a guitar.

I play guitar but would have preferred to have been a pianist. Most of my experiments are started on guitar, but I put them into cubase to develop further where I have a bass and piano set up --- I draw the notes by hand . . .

I end up more or less doing the same even with a piano when you got ideas that go beyond what you can do.

Thanks for your suggestion by the way, I very might well do just that!

[Forgotten]

It's a little different with guitar though, as transposition mostly involves moving the same shapes up and down the neck, whereas on piano transposition doesn't work like that.

Shifting between guitar and piano can be produce some very interesting results.

[vurt]

dim chords are a pain on guitar

[xtp]

. . . transposition mostly involves moving the same shapes up and down the neck

When I am working out chords, I break the neck up into Bass, Mid and High, so with a four note chord, Bass would be played on strings 6,5,4,3; Mid on strings 5,4,3,2; and High on strings 4,3,2,1.

So using maj7 as an example, in the lowest playable position without using open strings;
Bass is Fmaj7 [string6->fret1—string5->fret3—string4->fret2—string3->fret2] ;
Mid is Bbmaj7 [string5->fret1—string4->fret3—string3->fret2—string2->fret3] ;
High is Ebmaj7 [string4->fret1—string3->fret3—string2->fret3—string1->fret3] ;

I break all of the chords I play, down into this formula [mostly]; in addition, when inversions are added in, the number of chord—shapes build up rapidly, which means you are more likely to be able to find a shape to use in the area of the fretboard you are playing in without having to move up or down the neck. This makes chording more complex, but gives a lot of tonal variation. I do this for triads as well, though sometimes I add a fourth [drone] repeated note.

Hopefully there is no typo’s.