Donate a nice chord progression

[Danno]

Ya, back to G7. Ad Infinitum.

No actually I think I did take it somewhere but I can't remember now.

G7 - F7/G

But this has to go somewhere then, no?

[eLawnMust]

Special Tree...special tree...

Here's one of mine kinda 'lively fusion'

Verse-

E6 - C#minor7 - EMajor7 - C#minor7 - E6/9 - C#minor9 - CMajor7 - G13

Chorus-

CMajor7 - F13 - A#Major9 - D#7sus - G#Major7 - C#9sus - F#Major9 - B7sus

[NKF]

Intro to Finlandia by Sibelius using well known tonal harmony with some clever key pivoting using augmented 6 chords in particular German 65 and french 43



Wagners Tristan Isolde is a masterpiece in terms of tonal harmony that is seemingly more due to voice leading yet works both ways. His stuff is at the breaking point of tonal harmony often called roaming harmony but is still quite conservative despite all the little clever things going on.



This is a fun one using all the usual tonal stuff with some clever modulations. I would give this to first year students and most found it incredibly hard to transcribe in real time despite how common the harmonic devices are. An example if something that is technically easy , sounds easy but people seem to struggle perhaps because when they learn harmony they don't apply it modern situations.

[jancivil]

As regards "the Tristan Chord", Mr Bennett's analysis is correct. It looks like he's assumed we know what a "French 6" is coming in, though. As I am avoiding, as though incapable of, new thought at this writing, I'll donate this much.

Key is A minor. The "Augmented 6" harmony builds on the iv chord in first inversion per se.
So, we have F A D. The sixth is F to D.
Augmenting the interval gets us F - D#. In A minor, F A D# is called the Italian 6th.

If we add a C, the resultant harmony sounds just like a major/minor 7, the construction used as a "Dominant 7th" harmony; but it's spelled as is because of an expectation of voice-leading. IE: the expectation of moving to V: F - D# [most conventionally] in contrary motion to E - E in this case. (F - D# to E - D is not very unusual.)
This got called the German 6th. I know we got it in music of JS Bach, I'm not remembering earlier examples.

Now, instead of C we may see B. This got called the French 6th. So, displace the A an 8ve higher and we have F B D# A. The A is belayed for a moment by an appoggiatura (strong beat non-harmonic tone) G#. F B D# G# is the so-called Tristan Chord.
It was a shocker at the time because the sonority is the same as an F half-diminished seventh harmony, F Cb Eb Ab [Fø7]. This is the ii7 harmony of Eb minor, btw (all the way to the other end of the circle of fifths from A minor).

Again, the augmented 6th functions as a "predominant" or de facto secondary dominant to V. So, that G# does resolve to A, forming a real French 6th;
then, a continuation of this chromatic ascension occurs, to A# as the basic harmony does its thing to V7, E7. (F - D# does go to E - D.)
It's not as radical as an E7 #11 looks, as once again the 'offending' bit resolves, here to B. Then finally up to C as part of a regular old i chord.

Effectively this is quite like a flat-five substitute dominant from bebop theory, as secondary dominant. F7b5 to E7, but with the 'nice' voice-leading to make it work in the style. I personally would not ascribe 'tonality near its breaking point' to this. If it bends, it's funny. If it breaks, it isn't.- Woody Allen

I'm sure you all care a lot. but I'm doing this as a distraction until I get enough drugs in me to cope with today.

[lfm]

I stumbled on this and thought this is nice

Very simple idea 1maj-2min and various inversions going up or down or riffing. Excellent practice as well to get all inversions in the backbone.
- I'm all over such things that make practicing both beautyful and fun

[Dario1900]

Ab-maj F-min C-min Bb-maj

[eLawnMust]

'Donate a nice chord progression' does not mean 'Divulge mindless music theory'... It means let go a nice progression that YOU perhaps use in an ACTUAL tune, or are planning to... That is if anybody on here does that...

Here's a WIP I am currently doing in BramBos Tuareg 2.5 FAT-

https://alonetone.com/TalkOrBell/tracks/klusterphunk

Progression is-

Drum/Bongo Intro, G7+9, Cminor7, Dminor7, Cminor7, Dminor7, EbMaj9, G7+9 That's it so far but at least you can hear how that sounds WIP WIP>>>

[Scoops]

Ab/C - Ebm/Bb - Ab - Ebm/G - Gb+5 - Bb/F - F - Gm7/F

[bw9477]

Em G Cmaj7 Am, Em G Cmaj7 Ddim

[TheMaestro]

What the heck have they done to this?
It sounds crap.