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Crime Fighter
Joined: 08/04/02
Posts: 1,518
Yeah, the whole chord progression was hard to write up and make sense of. Voicing's were a problem because I had to consider some of the chords in simple triadic form just to make sense of it. I tried to make sense of it without just saying it's chromatic. Chris I'm not sure what you see wrong with the third chord. Yeah it's not the best label, but I wasn't going for the most convient label but one that did make sense.

The first chord is clearly a minor 7th flat fifth chord. It sounds like a F#m7b5 before an A minor, even the whole movement of the first 4 chord is too dark to even be called minor. Sounds diminished, even better locrian. First chord in the locrian mode of G major is F#m7b5. That's where I got that. Then it goes to a bV of F# locrian. A common movement in a locrian mode. Hell any mode, the bV characterizes the locrian specifically. That chord would be C. Where I got the 6th spelling is from a common voicing for IV in G major, which would be Cmaj6. Think this progression I - IV6 - V7. Makes sense to me. Why is it a suspension? Where does a suspension 4th resolve in a Csus4 chord. Well from F to E, now look at the high e string. That's where I got that. Yeah it's not as convient as Fmaj7/E, but it sounds like a suspension to me. How often do you see the bass note being the 7th of a chord? I think that was a decent analysis of that first 4 chords, and yeah your right I did try to make it fit a theoretical explanation. I think that made sense and it made sense to do that. As for the middle part, whew!!
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.