Recognizing Chord progressions

[AlphaMale]

So I was trying to figure out a chord progression cause they are fun. I know this is simple for like 40% of you. But I'm self taught.

So it goes:
Am E7 A7 Dm Gm Am

So it's in A minor, do we base the numerals off of the major scale as usual? Or since it's minor do we base it off the minor.

Basically what is the numerals for it and how did you figure it out.

[BassChuck]

Originally Posted by AlphaMale

So it goes:
Am E7 A7 Dm Gm Am

I'd say its in Aminor.

i V7 I7 iv vii I

would be the numbers. The A7 could also be described as V7/iv, since it is the dominate of the subdominate chord, but that sort of thing usually describes a momentary modulation and in this example, I doubt it would sound that way.

I was taught to use the lowercase numbers to show minor and the capitals to show major, but there are other ways of doing that. It just looks a little complicated to show it this way.

[AlphaMale]

aHaha that whole modulation thing confused me.

So if it's on the minor scale than the numerals are based off the minor scale?

So what if it is on a scale thats not major or minor, is there a way to denote flat and sharp?

[DocBop]

Originally Posted by AlphaMale

aHaha that whole modulation thing confused me.

So if it's on the minor scale than the numerals are based off the minor scale?

So what if it is on a scale thats not major or minor, is there a way to denote flat and sharp?

If you have chords going all over the place you probably have keys changing too or at least from an analysis POV. So like in Jazz standards that change keys a lot many times you analyze the key centers and the chords being within those key centers.

All this isn't to dictate how to play the tune, but to help you find a way to navigate thru the tune. Also depends on if you are analyzing a tune from a transcription, or looking for a different path to practice soloing over or having to solo on a tune you haven't played before. In the first two cases you have time to think sometime look ahead and work back to justify a chord, but on bandstand you can't stop and have to have ways to get thru the tune or solo. You need a multiple ways to look at chords depending on the amount of time you have to think. Also here you are giving isolated chords and the root movements are a bit odd in my book, but maybe if the melody was known then it would fall in place because the melody would help define how the chords are functioning.

What I'm getting at there is no one answer because the answer depends on the how and why you are looking at the situation.

[AlphaMale]

Ah I see. Well if you want to know what piece this is from It's from Eugene's Trick Bag by Steve Vai (From Crossroads) The arpeggio sequence.

[DocBop]

Originally Posted by AlphaMale

Ah I see. Well if you want to know what piece this is from It's from Eugene's Trick Bag by Steve Vai (From Crossroads) The arpeggio sequence.

Okay Crossroads that explains the Gospel Blues sound of three of the chords. Also its just a solo that starts with no chord. Then does the Am, E7. A7, Dm, but then goes to Bdim7, then Am and then a fermata on E. So diminish chords are 7b9 chords in disguise so I would say it is really E7b9 which resolves down to Am and up to holding a E.

Looking at it that way in Ami I see it as Im7, V7, I7 (V7 of IV), IVmi, V7b9, Im7, The E my guess is a key change or pivot chord.

I would say Vai is taking advantage of swapping minors for dominants and visa versa, because only one chord tone changes. You see this done a lot in Blues and Jazz.

[AlphaMale]

Ah, I'm sorry I looked over the song again and I said Gm but it was actually Ddim and then it does the ECG# (G# minor arpeggio) after A minor.