Another chord sequence question...

The Jan · 10-28-2009, 03:45 PM

I made up a simple progression like:

Amin7 - Cmaj7 - Gmaj add9 - F#7 (add11?) - F7 - E7.

It _sounds_ like it wants to resolve to A minor, and following the A minor chord scale, you've got the tonic (A min) the third (C maj), the fifth (E7) and the 7th (G maj), but I can't figure out where the F#7 and the F7 come from. They fit really well for chromatic descension from the Gmaj add9 to the E7, but they don't fit the A minor scale.

Are they secondary dominants?

Voicing:

Amin7: [x0201x], Cmaj7: [x3200x], Gmaj add9: [3x200x], F#7 (add11?): [2x230x], F7: [1x121x], E7: [02010x]

I like the addition of the add11 (I think it's an add11 anyways) to the F#7, as it creates a slight dissonance that I like (caused by clashing with the maj).

JonR · 10-28-2009, 05:59 PM

Correction: [3x200x] = G6, not Gmajadd9. (Unless you meant [3x020x], which would be Gadd9. No need for "maj", which is only used if the chord has a major 7th.)

You're right 2x230x is F#7add11. Or maybe just "F#11". Odd chord, but I agree it sounds nice here.
It's really just a chromatic passing chord between G6 and F7.
If it wasn't for the added B natural, I might say it was a substitute for C7, the secondary dominant of F.
F#7 is the tritone sub (b5 sub) of C7, but that means you can't add a B natural to it (because it wouldn't fit C7). Both chords share E and Bb(A#).
The B is like a suspension (hangover) from the previous G, tho it doesn't resolve (upwards) till the following F7.
You could even retain the open B right through to the E chord. (You don't have to like it, but it's worth trying.

)

The key is definitely A minor, confirmed by the E7 chord.

The F7 (whose Eb is outside the key) can also be seen as a tritone sub, btw - for B7, secondary dominant of E. Try these alternative changes (not because they're "better" than yours - just related):

G6 - F#7 - B7 - E7
G6 - C7 - B7 - E7
G6 - C7 - F7 - E7

The middle pairs of chords all share the same "guide tones" (3rds and 7ths) - on the middle 2 strings in your voicings.

The Jan · 11-03-2009, 07:42 AM

Thanks!

I meant 3x020x, sorry.

Checking out the three possibilities you wrote down when I get back from school today. G6 sounds pretty nice as well tbh. Alterations of existing chord sequences is totally interesting. I just got into chromatic descension/ascension and making real melody lines through chords (as opposed to just single-string soloing it), and it's really enjoyable!

10-28-2009, 05:59 PM	#2
JonR Registered User Join Date: Dec 2002 Location: Shoreham-By-Sea, UK Posts: 3,356	Correction: [3x200x] = G6, not Gmajadd9. (Unless you meant [3x020x], which would be Gadd9. No need for "maj", which is only used if the chord has a major 7th.) You're right 2x230x is F#7add11. Or maybe just "F#11". Odd chord, but I agree it sounds nice here. It's really just a chromatic passing chord between G6 and F7. If it wasn't for the added B natural, I might say it was a substitute for C7, the secondary dominant of F. F#7 is the tritone sub (b5 sub) of C7, but that means you can't add a B natural to it (because it wouldn't fit C7). Both chords share E and Bb(A#). The B is like a suspension (hangover) from the previous G, tho it doesn't resolve (upwards) till the following F7. You could even retain the open B right through to the E chord. (You don't have to like it, but it's worth trying.) The key is definitely A minor, confirmed by the E7 chord. The F7 (whose Eb is outside the key) can also be seen as a tritone sub, btw - for B7, secondary dominant of E. Try these alternative changes (not because they're "better" than yours - just related): G6 - F#7 - B7 - E7 G6 - C7 - B7 - E7 G6 - C7 - F7 - E7 The middle pairs of chords all share the same "guide tones" (3rds and 7ths) - on the middle 2 strings in your voicings.

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10-28-2009, 03:45 PM	#1
The Jan Registered User Join Date: Jun 2008 Location: Norway Posts: 158	Another chord sequence question... I made up a simple progression like: Amin7 - Cmaj7 - Gmaj add9 - F#7 (add11?) - F7 - E7. It _sounds_ like it wants to resolve to A minor, and following the A minor chord scale, you've got the tonic (A min) the third (C maj), the fifth (E7) and the 7th (G maj), but I can't figure out where the F#7 and the F7 come from. They fit really well for chromatic descension from the Gmaj add9 to the E7, but they don't fit the A minor scale. Are they secondary dominants? Voicing: Amin7: [x0201x], Cmaj7: [x3200x], Gmaj add9: [3x200x], F#7 (add11?): [2x230x], F7: [1x121x], E7: [02010x] I like the addition of the add11 (I think it's an add11 anyways) to the F#7, as it creates a slight dissonance that I like (caused by clashing with the maj).

11-03-2009, 07:42 AM	#3
The Jan Registered User Join Date: Jun 2008 Location: Norway Posts: 158	Thanks! I meant 3x020x, sorry. Checking out the three possibilities you wrote down when I get back from school today. G6 sounds pretty nice as well tbh. Alterations of existing chord sequences is totally interesting. I just got into chromatic descension/ascension and making real melody lines through chords (as opposed to just single-string soloing it), and it's really enjoyable!