Would you mind doing the analysis of the progression below?
Thanks.
E7M G° G#m7 C#7(9)
E7M G° G#m7 B7(9)
E7M G° G#m7 C#7(9)
A7M G7M F#m7 B7(9)
E7M G° G#m7 C#7(9)
A7M A#m7(b5)
D#7(b9) E7M G°
Chord Progression Harmonic Analysis
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
the thing to look for is function towards a goal; most of these go to ii V (albeit implicating a I that isn't explicit in every example here).
E7M G° G#m7 C#7(9)
ends in ii - V to F#. the dim chord is a secondary dominant to G#, "vii of ii" if F# is indeed the goal.
E7M G° G#m7 B7(9)
E: I7, vii/iii, iii7, V7
A7M G7M F#m7 B7(9)
E: IV7, bIII7, ii7, V7
A7M A#m7(b5)
typically a m7b5 works as a ii chord in jazz progressions; here borne out by the D#7, implying G# as a goal.
D#7(b9) E7M G°
from A^7: bII7, iiø7, V7, VI7, vii.
E7M G° G#m7 C#7(9)
ends in ii - V to F#. the dim chord is a secondary dominant to G#, "vii of ii" if F# is indeed the goal.
E7M G° G#m7 B7(9)
E: I7, vii/iii, iii7, V7
A7M G7M F#m7 B7(9)
E: IV7, bIII7, ii7, V7
A7M A#m7(b5)
typically a m7b5 works as a ii chord in jazz progressions; here borne out by the D#7, implying G# as a goal.
D#7(b9) E7M G°
from A^7: bII7, iiø7, V7, VI7, vii.