Analyzing a Chord Progression

toasty... what piece is this?

Frank wrote:

|Ab∆#5#11 - - - | - - G#°∆addC - | A-add9b6 - G#°7addC/A - | Bb-69∆/Db - - - |D-11∆ - D-11 - | Bb-69∆/Db - - - | F6∆/C - - - | B7 b5b9 - - - || F7b9/B6

In C major, could it start with |bVI | VII/VI | VI ?

I would opt for the modal approach... probably because of that there are no key alterations. Of course, it is possible to justify any sequence of chords, but in this case...

I would be curious to see the thematic line and the development of the piece.

but do you mean the ° symbol as a diminished seventh or does it only indicate the b5?

since there is also the ∆, I have my doubts.

AleGozzo wrote:

but do you mean the ° symbol as a diminished seventh or does it only indicate the b5?

since there is also the ∆, I have my doubts.

...eheh, we need to see what the person who wrote it thinks.

Here is the incriminating part

DrJellyfish wrote:

I would be curious to see the thematic line and the development of the piece.

Granted, what do you think?

Beautiful! It doesn't even sound like Jazz ;-)

From measure 5, one could hypothesize a tonal center of F, with the bass descending chromatically: VI, IV- (M.I.), I, V of IV (tritone); the first part is more complex, I would probably play it chord by chord.

And the rest of the piece? ehehe

It is a curious piece, in fact it does not seem to be of jazz origin, even the signature is unusually detailed, it would seem like a slow piece even 8ths...

DrJellyfish wrote:

It is a curious piece, in fact it doesn't seem to be jazz-based, even the signature is unusually detailed, it would seem like a slow piece even 8ths...

In my opinion, it is fascinating to start from a signature to understand what it is about, that first part is really tough... if it were in C, it would be the fifth of F... hmm?

DrJellyfish wrote:

It is a curious piece, in fact it doesn't seem to be jazz-based, even the signature is unusually detailed, it would seem like a slow piece even 8ths...

In my opinion, it is a Ballad 😉

JamSession wrote:

In my opinion, it's a Ballad 😉

Yes, it's a Ballad

DrJellyfish wrote:

And the rest of the piece? ehehe

I am sure, in fact certain that you have it ... and you will immediately understand why 😉

I will send you the link later today, I need to retrieve it 😃

http://www.mediafire.com/?y9iim56dmi6rny8

Pages 88 and 89 ... you thought you were preaching in the desert... eh!!!

Frank wrote:

http://www.mediafire...y9iim56dmi6rny8

Pages 88 and 89 ... you thought you were preaching in the desert... eh!!!

Well, well...

He always responds only in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.

This book seems interesting to me... is it just the impression of a layman?

DrJellyfish wrote:

I took a look. In fact, he proposes the piece as an example of the use of certain specific chords, but he doesn't perform a harmonic analysis. I read it, then I played the fragment you posted on Sibelius with a string sound, and I tell you that if I had to transcribe it without seeing the score, I would have used completely different notation, enharmonically speaking... It seems to me that he creates tensions that often resolve onto chords with an ambiguous harmonic identity, which therefore offer the possibility of moving further towards other tonal centers. Anyway, it doesn't seem to me that there are substitutions: in the sense that I don't see an original tonal structure to trace back to. What do you think?

I say that it is a language that I find very interesting and that deviates somewhat from the world of substitutions, which seems quite saturated to me.

In terms of taste, there are things I like very much and things a bit less, perhaps too cerebral... to answer Lestofante, it is a well-referenced text that was also suggested to me by very talented friends.

Respond always and only in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.

In terms of taste, there are things I like very much and things a little less, perhaps too cerebral... to answer Lestofante, it is a well-referenced text that was also suggested to me by very talented friends.

I absolutely agree with you: Dobbins is an excellent theorist but in certain examples he loses a bit of musicality.