1

After playing the progression:

Dm9 Gmadd6(add9)

FM7(13)

C9 Gmadd6

FM7(13)

Going back to the Dm9 right after this sounds pretty bad. I assume because the C9 implying key change from minor to major (D minor to F major). If left out, this sounds fine.

Why does the C9 chord function like that? I think that the progression sounds nice by itself, but would like to repeat it once more but it's being prevented by that.

  • If you could share some more information about the style, instruments or tempo, or if you have an audio sample, that would be very helpful. – Alex Y Nov 26 '18 at 23:01
  • @Jay I think it's the harmonic rhythm that this sequence produces. I counted 6 chords in your specification. Since you are moving the tonal center (justifiably by including C9) within 6 chords, and you would like the Dm9 to feel like "home", you need to adapt the pace of the chord changes to the melody, or include additional chords. This is how harmony works - it's the whole "harmonic phrase" that counts, and since you're speaking of major/minor, at least some tonality can be assumed. When moving tonal "centers" you need to time the changes to coincide with the general structure. – Agnes K. Cathex Nov 30 '18 at 16:42

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