# Weird Chord Progressions



## rahul_mukerji

I was playing with the idea of ii-V-I when late at night this just happened. Its got some weird chords and a weird progression, but it seems to work. I wasn't looking to make it weird, but just came to be.

Anyone ever have those experiences ?

So I recorded it:  Music Page look for Memories from the Acacia Tree in the music player.

I tabbed it out (well sorta) Tab

Thought I'd share it here to see if anyone else has some weird things like that.


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## telecaster90

I don't have time to listen to it right this second, but I took a look at the chart. Solid changes


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## Luan

You have the D#&#176;7 (which can be thought as B7) that resolves into Em, then a II V I in D major, then a bVII (modal interchange), I again, then bVImaj7 (modal interchange again, try to write it as Bb rather than A#), then you use a line cliche on all the A# (Bb) something, and the last 2 chords can be analyzed as 2 chords of the same structure.
My analisys, in case you wanted it 
Good chords progression!


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## JakeRI

sounds good, major point: for major 7 chords you write A#M7 not A#7M,

its very pretty though, best as a solo piece, like how its played IMO, really cool voicings.



Luan said:


> You have the D#&#176;7 (which can be thought as B7) that resolves into Em, then a II V I in D major, then a bVII (modal interchange), I again, then bVImaj7 (modal interchange again, try to write it as Bb rather than A#), then you use a line cliche on all the A# (Bb) something, and the last 2 chords can be analyzed as 2 chords of the same structure.
> My analisys, in case you wanted it
> Good chords progression!




also, to elaborate, the d#dim acts as a b7 (b9 b13) just in case you (not Luan ) missed the connection.


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## All_¥our_Bass

Gmaj7 Bbmaj7 Gmaj7 Bbmaj7 Amin7 Cmin7 Ddim7 Ebmin7 Ddim7 Cmin7 Ddim7 Ebmin7 F7

Lather, rinse, and repeat as desired.


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## JakeRI

All_¥our_Bass;1367309 said:


> Gmaj7 Bbmaj7 Gmaj7 Bbmaj7 Amin7 Cmin7 Ddim7 Ebmin7 Ddim7 Cmin7 Ddim7 Ebmin7 F7
> 
> Lather, rinse, and repeat as desired.



that gmaj7 to Bbmaj7 is straight bright size life by pat metheny


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## rahul_mukerji

Ah sweet !! I'm gonna have to read those slowly and digest what you guys interpreted. Thanks so much for the analysis. Thanks Jake, I didn't quite know how the Diminished chord acted as a flat 7th. I should read on substitutions and such. Wow this is interesting.

I'm gonna go home and try the progression that All_¥our_Bass mentioned.

Thanks again people !


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## Luan

The notes of D#&#176;7 are D#, F#, A, and C.
The notes of B7(b9) are B, D#, F#, A and C.
Basically, a dim7 chord can function as a dominant chord (major triad with b7), you have the root of the dominant a major third down of the root of the diminished chord.
I hope it's clear, my english sucks.


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## rahul_mukerji

No, your english does not suck. Thanks for that explanation. I should definitely study some chord voicings and substitutions. I still play by ear and go with "what sounds best". Thats why I can't really analyse my tunes. 

But reading all the analysis you people gave has made me want to read theory and try and understand why somethings sound good. 

Thanks a ton again !


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## Luan

Get the berklee harmony books, they will help you a lot since you are interested in jazz harmony. Google will help you


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## JakeRI

yeah, luan knows whats up


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