hi everyone!!
i've found this loop. i would like to understand what chords are that. maybe there's someone with great ears that can help me!!
thanks everyone!!
http://www66.zippyshare.com/v/68416647/file.html
can you tell me what chords are those??
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- KVRer
- 11 posts since 5 Aug, 2012
The harmonic progression would probably look something like...
||Fmaj13 -- Fm9 -- Bbmaj13 or Gm9 (or Csus9 if you like)||
Do keep in mind that true harmonic analysis requires close attention to the bassline, which is not given in the excerpt. What is given seems like typical upper-voice realizations of jazz harmonies, with the assumption that the bass is covered by another instrument or track. You may not even hear the F in the first chord, but the root is often left out in upper-voice realizations. The third chord could be interpreted a number of ways, depending on the bass. The Bbmaj13 comes most naturally to my ear, given the satisfying PLAGAL (thanks for the correction below, my mistake) motion that would result (Bb-F). The Csus9 would have a more cadential sound due to the dominant relationship between them (C-F). The most important information we are given is the smooth voice-leading between each chord and the chromatic lowering of the A and E (to Ab and Eb), the third and seventh of F:
A-Ab-G
E-Eb-F
This should give you an idea of what's implied, but remember that real harmonic analysis is going to be incomplete without a real bass-line. Hope this helps.
||Fmaj13 -- Fm9 -- Bbmaj13 or Gm9 (or Csus9 if you like)||
Do keep in mind that true harmonic analysis requires close attention to the bassline, which is not given in the excerpt. What is given seems like typical upper-voice realizations of jazz harmonies, with the assumption that the bass is covered by another instrument or track. You may not even hear the F in the first chord, but the root is often left out in upper-voice realizations. The third chord could be interpreted a number of ways, depending on the bass. The Bbmaj13 comes most naturally to my ear, given the satisfying PLAGAL (thanks for the correction below, my mistake) motion that would result (Bb-F). The Csus9 would have a more cadential sound due to the dominant relationship between them (C-F). The most important information we are given is the smooth voice-leading between each chord and the chromatic lowering of the A and E (to Ab and Eb), the third and seventh of F:
A-Ab-G
E-Eb-F
This should give you an idea of what's implied, but remember that real harmonic analysis is going to be incomplete without a real bass-line. Hope this helps.
Last edited by goldenmommy on Tue Aug 07, 2012 4:35 am, edited 1 time in total.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
goldenmommy wrote:The harmonic progression would probably look something like...
||Fmaj13 -- Fm9 -- Bbmaj13 or Gm9 (or Csus9 if you like)||
Do keep in mind that true harmonic analysis requires close attention to the bassline, which is not given in the excerpt. What is given seems like typical upper-voice realizations of jazz harmonies, with the assumption that the bass is covered by another instrument or track. You may not even hear the F in the first chord, but the root is often left out in upper-voice realizations. The third chord could be interpreted a number of ways, depending on the bass. The Bbmaj13 comes most naturally to my ear, given the satisfying phrygian motion that would result (Bb-F).
there is nothing about a falling fourth movement particularly belonging to 'phrygian'. There is nothing particularly 'phrygian' about the chords here. one thing you can't ignore here is there is a major to minor move per the tonal center F [if not a move from F to Ab]. IE: if one were to apply scalar ideas, there isn't going to be a single scale, and there isn't going to be any phrygian. There is no G flat, for instance. I object just because it's a term that could confuse someone. It doesn't have any place in the analysis frankly.-
- KVRer
- 11 posts since 5 Aug, 2012
Thanks for the objection, I actually meant to say plagal. Sorry for the confusion.