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Hi Im new to the site so please inform me if I am doing anything wrong.

So,4 arpeggiated chords all sixteenth notes The arpeggio goes as follows:

F-G-G#-C-D#-G-G#-C

D-F-G-B -D-F-G-B

C#-F-G-A# -C#-F-G-A#

C-F-G-A# C-G-A#-C

My speculations are that it is either an

Fm-G7-Gm-Cm (iv-V7-v-i)

a somewhat classic chord progression leading to the tonic

or

Cm-Bmadd4-BbM-A#Madd2

Something like a descending kind of progression wich Im not aware of...

Or maybe a mix of these two?How you guys would analyse this and what is its harmonic function?Thanks in advance.Sorry for bad english!

1 Answer 1

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Some of the enharmonics are confusing you, I think.

F-G-G#-C-D# is better understood with Ab and Eb instead of G# and D#. This is just an F9 chord.

D-F-G-B is a G7 chord.

C#-F-G-A# is also better understood with Db and Bb; this is a G7b5 (aka G half-diminished seventh).

C-F-G-A#, once again should be conceptualized with a Bb instead of an A#. This is a C7sus4.

Note that I'm not accounting for inversions, but definitely pay attention to the descending chromatic motion in (what I am assuming is) the lowest voice.

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  • No arguments about the enharmonics, but, given that it appears that G is held as a pedal through the last three chords, then if the D♭ of the third chord is in the bass, you've got a fairly standard Phrygian ♭vii6 as a passing harmony between G7 and C7. I say "appears" advisedly - it seems persistent enough to be a pedal note, but it would be nice to see the score to see if the Gs appear at the same octave. If so, even arpeggiated they will act as a pedal.
    – user16935
    Dec 12, 2016 at 0:10
  • I agree 100%; it's always tough to analyze harmonies without a larger context.
    – Richard
    Dec 12, 2016 at 0:27
  • That first chord would be an F minor 9th, not an F9. Also the second chord includes a #9.
    – vjones
    Dec 13, 2016 at 0:18

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