Feelings Chords - Sky.High | KhmerChords.Com

Dbm7 Gb7

{tab: e|---------------------------------|}

{tab: B|---------------------------------| }

{tab: G|-9---9---9---9---9---9---9---9---|}

{tab: D|-9---9---9---9---8---8---8---8---|}

{tab: A|---------------7-9---9---9---9---|}

{tab: E|-9---9---9---9-------------------|}

* * * * * * * * CbM7 FbM7

{tab: e|---------------------------------|}

{tab: B|---------------------------------|}

{tab: G|-8---8---8---8---8---8---8---8---|}

D|-8---8---8---8---9---9---9---9-6-|

{tab: A|---------------7-7---7---7---7---|}

{tab: E|-7---7---7---7-------------------|}

* * * * * * * * Bbø Eb7

{tab: e|---------------------------------|}

{tab: B|---------------------------------|}

{tab: G|-6---6---6---6---6---6---6---6\--|}

{tab: D|-6---6---6---6---5---5---5---5\--|}

{tab: A|---------------7-6---6---6---6---|}

{tab: E|-6---6---6---6-------------------|}

* * * * * * * * Abm7 Db7

{tab: e|---------------------------------|}

{tab: B|-------------------------2-------|}

{tab: G|\4---4-----4---------4-------4---|}

D|\4---4-4---4---2h3-3---3---3---3-|

{tab: A|-----------------4---------------|}

{tab: E|-4-------2-----------------------|}

* * * * * * * * Analysis: Step 1: Using knowledge of keys and their order F#-C#-G#-D#-A#-E#-B# or Bb-Eb-Ab-Db-Gb-Cb-Fb), it made more sense to transpose to sharps as it seems less likely to use Cb and Fb C#-7 F#7 Bmaj7 Emaj7 A#m7b5 D#7 G#-7 C#7 Step 2: Spell the chords out. A good starting point for determining what might be diatonic (key-related) or non-diatonic (modal, chromatic). C# E G# B F# A# C# E B D# F# A# E G# B D# A# C E G# - Possible modal mixture D# Fx A# C# - Possible Secondary Dominant G# B D# F# C# E# G# B - Possible Secondary Dominant Step 3: Further analysis Seeing mostly natural E and B, suggesting a key signature ending on A# B major/G# minor) Considering B as tonic: II-7 to V7 to Imaj7 to IVmaj7 to VIIm7b5 to V7/VI to VI-7 to V7/V Considering E as tonic: V-7/II to V7/V to Vmaj7 to Imaj7 to #IVm7b5 to VII7 to III-7 to V7/II Considering G# tonic: IV-7 to VII7 to IIImaj7 to VImaj7 to iim7b5 to V7 to I-7 to IV7 Either way it's clearly a descending 5th sequence (4-7-3-6-2-5-1). I lend the most creedence to G# as the tonic. The sequence order makes the most sense compared to the other two. Also, it makes sense that the tonic would be near the end of the sequence, giving a point of resolution and repose. so yeah, a descending 5th sequence in G# minor pivoting on the IV7 to IV-7, which intensifies the start of the sequence. IV-7 is diatonic to G#m VII7 is diatonic IIImaj7 is diatonic VImaj7 is diatonic iim7b5 is diatonic V7 is a leading tone chord, not diatonic to minor scale but basically is. I-7 is diatonic IV7 is nondiatonic. You could consider it a V7/VII, with the IV-7 intensifying motion toward the start of the sequence. The IV7 is also borrowable from dorian and melodic minors. I'm too tired to look into the parts Sky.High added but they all sound congruent to everything we've covered. The original, 3.14 by 참깨와 솜사탕 (Chamsom) ends this sequence on Emaj7 (VImaj7) and then goes into some more jazz before arriving at the first verse, but I'm too tired to look further into it. Hope someone finds this and it helps them. I'm no expert, but if you've yet to get to this level I'd recommend starting with a general theroy book and hitting it hard. I used The Musician's Guide to Theory and Analysis - Clendinning and Marvin which was tough but doable for a beginner. Alternatives include Harmony and Voice Leading - Aldwell and Schachter Tonal Harmony - Kostka et al