# Understanding a particular chord progression

In this particular chord progression (appeared in a Jacob Collier video), I'm trying to understand the meaning of all the successors to each chord.

I undertand F9/A - Abm13b5 - Gm11 as II7-V7-IMaj7 in EbMaj.

Cm11-Bbm11 can be understood as iii-ii

But I can't understand Bbm11 - D7#9#11/A - Abm11, can you help me with this one ?

• Your 1st premise doesn't seem right. Key there is Bb, so Gm won't be I. Even without the extensions, the RN doesn't seem right, in any key.
– Tim
Commented Aug 13, 2023 at 1:48

### TL;DR

There are two fancied-up iii-vi-ii-V progressions in F and Gb major, respectively.

The chord symbols in this case are an attempt to give a more-or-less literal translation of the written chord — that is, indicating all of the pitches present — rather than a functional one.

To begin deciphering them, note that in the first measure F is a pedal tone, and in the second measure, Ab is a pedal tone.

Considering that F is not a chord tone in each case, leaves us with

`A-7b5 – Ab-7b5 — G-7(add11) — C-7`

However, the C in the G-7(add11) is also not a functional pitch. It's an anticipation of the resolution to the following C-7. Thus:

`A-7b5 — Ab-7b5 — G-7 — C-7`

Or, even more simply

`A-7 – Ab-7 – G-7 – C-7`

A similar process allows for simplification of the second measure. The first chord reduces to `Bb-7`, the second to `Ao7`, the third to `Ab-7`, and the fourth to `Db7`, which resolves into `GbM7`.

`Bb-7 – Ao7 — Ab-7 — Db7 — GbM7`

Now, allowing that the second chord in each measure is a tritone substitution, we have something like

```F: iii  —  vi  —  ii  —  V
Gb: iii  —  vi  —  ii  —  V  — I
```