Yes all very interesting. I originally saw it as a ii V I VI variation (as someone noted) but now going with the Dm tonality, i could argue the Bdim is actually Dm6. (Assuming its half dim) But again all in that 4 bar riff, not time in a bottle.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Simple chord progression analysis help
- Thread starter bholder
- Start date
Groove Master
Commercial User
- Apr 22, 2011
- 1,808
- 1,291
- Disclosures
- Author of Groove 101, Slap 101 and Technique 101
D minor.
This a typical minor key progression where the bass goes down over a minor triad( Dmin in this case). The bottom note of the triad goes down as well.
Yeah, I can see that, if it had been written "Dm / B" I wouldn't have thought twice. (To clarify, this is referring to my little 4 chord progression, but also to the (non-)instance in the bad / misinterpreted chord chart for the song.)
Understanding the error about the Bdim that wasn't, you'd still call this chord an applied dominant since you are "borrowing" a V7 from another key to drive you to a particular chord. This kind of thing is used pretty frequently.
Yeah, I get it. I'm still trying to figure out why I actually like the wrong chord there.
I think you like the tritone between the bass note B and the F natural. This interval exists (of course among other things) whether you play a B diminished or Dminor/B.
To add nothing relevant to the conversation....sometimes notes that are not even actually voiced are audible and are created from overtones. Another reason why music is so fascinating to me!
Overtone stuff is really something. A friend of mine understands it really well and I haven't been able to wrap my head around it, it's a source of envy for sure!
Why, yes, I am a King Crimson fan, now that you mention it!
(Their "Red" era 70s incarnation had a particular fixation on the tritone.) But yeah, it's the driving tension it gives to the flow that I like.
Why, yes, I am a King Crimson fan, now that you mention it!
A lot of people do, myself included! It's also in every blues ever (a lot) and plenty of rock and roll... And well anywhere a dom7 chord exists. So pretty much everything lol.
Groove Master
Commercial User
- Apr 22, 2011
- 1,808
- 1,291
- Disclosures
- Author of Groove 101, Slap 101 and Technique 101
There is nothing wrong with your Bdim. It is actually a Dmin6\B OR a Bmin7(b5) OR a G9/B. They all are pretty much the same thing.
Also it is important to know that up to 3 scales can be involved over the I chord in a minor tonality: Minor natural or Aeolian, Minor melodic and Minor harmonic. This is exactly what is happening in that chord progression. The D minor will be D minor natural, the DminMaj7\C# will be either the harmonic or melodic, the Dmin7/C will be minor natural, the Dmin/B will be the minor melodic...
Last edited:
I agree to just call it Dm with a descending bass line. That's the simplest way.
As to the Bdim dilemma, when the bass hits B the melody has just hit A right before it on "bottle." If you wanted to call it some kind of B chord it would be Bm7b5 (half diminished). A full diminished B chord (Bdim7) there would conflict with the melody because of it's Ab.
Interestingly, I noticed that the melody up to that point is Phrygian due to hitting a Bb on "in."
Goodness, this is fun, but never thought I'd ever analyze (or overanalyze) this song so much.
My Funny Valentine has the same kind of progression except the Real Book version doesn't have the bass dropping down. Instead it's:
Cm-Cm(maj.7)-Cm7-Cm6
As to the Bdim dilemma, when the bass hits B the melody has just hit A right before it on "bottle." If you wanted to call it some kind of B chord it would be Bm7b5 (half diminished). A full diminished B chord (Bdim7) there would conflict with the melody because of it's Ab.
Interestingly, I noticed that the melody up to that point is Phrygian due to hitting a Bb on "in."
Goodness, this is fun, but never thought I'd ever analyze (or overanalyze) this song so much.
My Funny Valentine has the same kind of progression except the Real Book version doesn't have the bass dropping down. Instead it's:
Cm-Cm(maj.7)-Cm7-Cm6
Oooh, that's another one I've been wanting to work on (particularly the Elvis Costello version).
It definitely has a similar minor key descending chromatic line under shifting chords - come to think of it, that's fairly common among tunes I like.
As a quick aside, let's give credit to Maury Muehleisen, Jim Croce's guitar player. He was the one responsible for the more sophisticated voicings and guitar parts on Croce's albums. He died with Croce in that plane crash, and is little remembered now. A real talent, gone far too soon . . .
Remarkable, another two of my "favorites I intend to learn" on that list. Also Cream's "Tales Of Brave Ulysses" in A minor. I think The Residents' bizarre "Constantinople" has a major key version.
