Any Theory Buffs Want To Crack This Progression???????????????

[MonetBass]

Originally Posted by Jay Terrien

(F)ADE
FM6 (add 7)

(G)ADE
G sus2 (add 13)

(A)DAD
AM4

(Bb)DAD
BbM7(add 10)

Don't know what genre this is, and it would help to hear the piece. But this is what I SEE:
(F)ADE = i, dm9
(G)ADE = iv, gmsus(add13)
(A)DAD = i, dm (no 3rd)
(Bb)DAD = VI, BbM7 w/ repeated 3rd

Again, it would help to hear it.

[Jay Terrien]

The motive in discussion appears at about 3:09 Minutes here:

Rough Audio Demo: http://jayterrien.com/mp3/2006/CRUSH...%20MIX%201.mp3

Sibelius NOTATION Session: http://jayterrien.com/The%20Twelve/S...RCHMASTER).htm

More about the work HERE: http://jayterrien.com/The%20Twelve/The%20Twelve.htm

Originally Posted by OKStateBass66

Don't know what genre this is, and it would help to hear the piece. But this is what I SEE:
(F)ADE = i, dm9
(G)ADE = iv, gmsus(add13)
(A)DAD = i, dm (no 3rd)
(Bb)DAD = VI, BbM7 w/ repeated 3rd

Again, it would help to hear it.

[KayCee]

Much of the effect you're creating here is in the specific voicing and technique on your bass (enabled to some degree by your unusual tuning). IMO, you're best off using traditional notation here rather than a lead sheet. You can still throw the chord symbols over the top.

[Jay Terrien]

I know. That's why I finally chose to just notate the damn thing. It looks hilarious in notation at mm. 57-73 :http://jayterrien.com/The%20Twelve/S...RCHMASTER).htm



JT

Originally Posted by KayCee

Much of the effect you're creating here is in the specific voicing and technique on your bass (enabled to some degree by your unusual tuning). IMO, you're best off using traditional notation here rather than a lead sheet. You can still throw the chord symbols over the top.