# Math rock chord progression analysis

I have been given this chord progression I have to analyse:

``````Em9 | F#m7 F#7/G | Bm11 | Cmaj7 Dmaj7 | Em9 (loop around)
``````

I've got around to set E as the root since it's the one that sounds the most stable. So the progression would go like this:

``````Im9 | IIm7 II7 | Vm11 | bVImaj7 bVIImaj7 | Im9
``````

Excluding the colours, and taking F#7/G as a passing chord, I'd say this is in E aeolian (or E natural minor). But the 7ths are inconsistent and getting me confused.

How would you analyse this?

Without listening to the actual song it is hard to tell where the tonal center lies.

In E minor you wouldn't have neither `F#m` nor `Dmaj7`, but rather `F#dim`/`F#m7b5` and `D7`.

If you look at it from a D major / B minor perspective, everything is diatonic besides the passing `F#7/G` and the `Cmaj7`, that can be seen as a bVII / myxolidian moment or as a simple planing back to D.

(btw in roman numerals notations you use small letters in favour of the `m` modifier, so `v` over `Vm`.)

• I know there are two "schools" about roman numeral notation... This is how I've learned it so that's the way I usually write them :) Dec 8, 2019 at 23:17
• Maybe I can get an audio sample or sheets... I'll try to get some. Dec 8, 2019 at 23:17
• There are many types and styles of roman numeral notation, and none is "the right one". Some books don't use the "small letter" approach at all. Dec 9, 2019 at 1:33

I would view this as a chord progression in E minor (or, given the C#'s, could be in Dorian mode) which, put in Roman numerals, would be

i-ii-V7/v-v-VI-VII