Help with chord analysis

[Erkme0418]

Working on a tune and I'm having trouble with the harmonic analysis. I have minimal knowledge of theory, I believe there is some kind of substitution or modal interchange going on but I really have no idea. I know all of these chords could be named as inversions or slash chords, I tried to include the possibilities that I thought might be notable. I'm primarily concerned with finding a tonal center(s) so I can start experimenting with some meoldies. I have been using A minor or A aeolian as well as G ionian over section 2. However im having a hard time finding my way over section 3 and 4. I know this is kind of a lot to mess around with, but if anyone can give me some advice I would greatly appreciate it. Also, I apologize for the layout, I tried arranging the chords left to right but for some reason when preview the post all the spaces between the chords were not there, making it especially hard to read.

__Eric

Section 1 (alternating 1 bar 5/4 1 bar 6/4)

F#–7 or A/F#

FM7 or A–/F

GM7 or B–/G

Section 2 ( same but with an A- at the end)

F#–7

FM7

GM7

A–

Section 3 (alternates between two chords)

G6(omit 5) or E–/G

G#–7#5 or Eadd9/G#

Section 4 (cycles through chords over 1 bar 7/4 and 1 bar of 5/4)

F#–7

G6sus2 or E–11/G

GM7

Aadd9 or E6sus4/A

A–

F

FM13b5

A–add9

[alexis]

Working on a tune and I'm having trouble with the harmonic analysis. I have minimal knowledge of theory, I believe there is some kind of substitution or modal interchange going on but I really have no idea. I know all of these chords could be named as inversions or slash chords, I tried to include the possibilities that I thought might be notable. I'm primarily concerned with finding a tonal center(s) so I can start experimenting with some meoldies. I have been using A minor or A aeolian as well as G ionian over section 2. However im having a hard time finding my way over section 3 and 4. I know this is kind of a lot to mess around with, but if anyone can give me some advice I would greatly appreciate it. Also, I apologize for the layout, I tried arranging the chords left to right but for some reason when preview the post all the spaces between the chords were not there, making it especially hard to read.

__Eric

Section 1 (alternating 1 bar 5/4 1 bar 6/4)

F#–7 or A/F#

FM7 or A–/F

GM7 or B–/G

Section 2 ( same but with an A- at the end)

F#–7

FM7

GM7

A–

Section 3 (alternates between two chords)

G6(omit 5) or E–/G

G#–7#5 or Eadd9/G#

Section 4 (cycles through chords over 1 bar 7/4 and 1 bar of 5/4)

F#–7

G6sus2 or E–11/G

GM7

Aadd9 or E6sus4/A

A–

F

FM13b5

A–add9

Wow, far out chords!

Any chance you could do a sound cloud link?

[Exalted Wombat]

I don't think you're going to get far with finding a single scale that covers even one of the sections. And why should you? Not much music works like that!

Rather than looking at the chords as all being in a particular mode, why not consider them as "changes", but with elements of unity. What note or notes are shared by two adjacent chords? Linger on them, letting the changing harmonies colour them differently - think "One Note Samba" or "Girl From Ipanema" (there are echoes of that last song in your first section's chords).

[Erkme0418]

Post deleted by Erkme0418

[Erkme0418]

Yeah, well said, I'm not necessarily looking for a single scale to fit the progressions, but rather im trying to identify how to chords are functioning in the progressions. For the sake of being able to lable with roman numerals.

[Erkme0418]

oops, I responded to the wrong comment. But yes, i could set up a sound cloud, unless youd accept an email, I have an mp3 of the chords being played on piano.

[Erkme0418]

Here is a scratch track/draft of the tune. Hopefully the shitty drum beats are not too distracting(still working on it,) I can remove them if need be.

https://soundcloud.com/egill016/king-kratomsoundcloud

[alexis]

It sounds great! As you mention, though, the drums are distracting, to the degree it makes it difficult for me to think of melodies.

Yeah, well said, I'm not necessarily looking for a single scale to fit the progressions, but rather im trying to identify how to chords are functioning in the progressions.For the sake of being able to lable with roman numerals.

Unless this was an academic exercise, I would skip worrying about the Roman numerals, and just move to the melody portion. That's coming from someone who is self-taught, and writes mainly in a 70s pop idiom. Someone with real musical training will likely be around soon though, and shed real light on the subject!

Good luck!

[Adam Inglis]

... so I can start experimenting with some meoldies.

May I just say, that the misspelling of melodies as "me oldies" was insightful and brilliant. I'm scarred for life now, I am.

[Erkme0418]

I'm sure you get off pointing out spelling errors on the Internet, but this forum happens to have a time limit on the ability to edit a post. I would have laughed if you had anything useful to say. But you didn't. Thanks for nothing though!

[Exalted Wombat]

I don't see much functional harmony here. You could pick a key centre and assign Roman numerals based on it, but what for?

[Luke JD]

Section 1 (alternating 1 bar 5/4 1 bar 6/4)

F#–7 or A/F#

FM7 or A–/F

GM7 or B–/G

Section 2 ( same but with an A- at the end)

F#–7

FM7

GM7

A–

Section 3 (alternates between two chords)

G6(omit 5) or E–/G

G#–7#5 or Eadd9/G#

Section 4 (cycles through chords over 1 bar 7/4 and 1 bar of 5/4)

F#–7

G6sus2 or E–11/G

GM7

Aadd9 or E6sus4/A

A–

F

FM13b5

A–add9

I need to listen to it, but my best guess is it's in D.

The F#-7/A could be D9/A(without root), FM7 is bIII (chromatic mediant) and GM7 is IV. (I haven't listened - in the studio - so could be way off!)

Section 3 is an alternation between G (IV) and E (II).

Not sure if that's helpful?