Chord Progression/Analysis/Creation

[ecsmix]

Hi guys,

I was wondering if someone could help me apply the concept to understand some chord progressions better in order to create some on my own, using the logic of LCC.

There is an earlier thread with this example:

"Wave" progression, D Maj 7- Bb dim 7 - A min 7 - D7b9 - Gmaj7 - Gm6

DMaj7 (D Lydian scale first degree)
Bb dim (Bb lydian first degree in the form of an auxiliary dimished scale)
Am7 (C lydian scale VI degree)
D7b9 (C lydian scale II degree in the form of a Lydian dimished scale)
Gmaj7 (G Lydian scale first degree)
Gm6 ( Bb lydian VI degree)

I saw somewhere in the forum, a good way to analyse the progression would be using the scales.

So the progression would be: D - Bb - C - C - G - Bb, how can I use this logic creating my own progressions/compositions?

On D7b9 could I use:
(+V) Ab auxiliary dimished ,
(I) D Lydian
(VII) Eb auxiliary dimished
(II) C auxiliary dimished

What would be the best choice if the next chord is Gmaj7 then Gm6.

Which of those options resolves better to Gmaj7 and G lydian scale?

How would you come up with a chord progression like this using LCC?

Where in the book can I learn more about this?

Thanks.

[sandywilliams]

I think the best way to learn about progressions and create chord progressions is to study tunes. Go get a stack of fake books and study the harmonic schemes of tunes.
If you want to experiment with the Concept, assign different Modal Genres to Lydian Tonics. In your analysis of Wave, you have the Lydian Tonics....try using different chords. For instance make the first chord a VI (Bmi) or G#mi7b5 (+IV), etc....
Now make a new melody.

[ecsmix]

Hi Sandy,

Thanks for your reply.

Let's see if I understand correctly.

More options for the Dmaj7 chord:

Options(Chart A): Ih = D Lyd
IIh = C Lyd
Vh = G lyd

Now I have three scales to choose from, as primery scale, more ingoing scale, since is the more ingoing scale will have the more ingoing chords based on that scale, make sense?

Using Chart A, G Lydian scale chordmodes , Let's use the +IV on G lydian, that would be C#, on +IV we have a chord mode min7b5.

If we use that chord, C#min7b5 to reharm the Dmaj7, with the melody note A, we have a A9.

Could I use, the Lydian Diminished scale, now using C lydian @ the VI degree, with chordmode min7b5 = Amin7b5?

Can I use this logic?

The way I analysed and found the chords are correct?

What do you think?

Thanks.

[chespernevins]

Sorry for the slow reply, I don't check in here that often these days.

Just to move this discussion forward one step...

The first step is to get as grounded a view (or analysis) of the tune as possible.

What I would do would be to look at the analysis of the progression from a combination of functional harmony, historical tune analysis, and law of resolving tendencies all at once.

The A section is in D, and the progression goes to the traditional/typical IV chord (G) in the 5th bar.

The rest of the A section is a cliche: G (IV/D) | G-(IV-/D) | F#7 (III7/D) | B7 (VI7/D) | E7 (II7/D) | A7 V7/D) |

EXCEPT, the last chord is a deceptive cadence, resolving to D- instead DM.

Now, backing up a little, starting with Bbo7: The| Bbo7 | A- | D7 | G | can be seen as a progression in G.

Dim7 chords can have a number of functions. One of them I think of like this:

Remember Scott Joplin Maple Leaf Rag? it has a Dim7 chord resolving to a Maj chord on the same root. In G, this would be Go7 -> G Maj. That's what is happening here, but the Go is over a Bb root for voice leading purposes.

The parent scale of the Go7 might be considered to be G Diminished, but I think an even more consonant choice would be G Lydian Diminished [G A Bb C# D E F#] (this is often a great choice for a Io7 in-first-inversion chord in a very tonal progression). Either could be used, but point being, we are in G Lydian Chromatic.

Back to the "Joplin progression", what if we delayed the resolution of Go7 -> G by putting a D7 in between them? Go7 -> D7 -> G.

If we look at this from a Law of Resolving tendencies point of view, we do a very basic shift of G Lyd -> C lyd (one step flat lying) -> G Lyd (resolving by moving in a sharp direction).

This D7 is then broken down into a ii-V by making it A-7 D7.

So, my A section vertical analysis looks like this:

|D I | G LD I | C VI | C II | G I | Bb VI | G LD VII | C LD VII | D VI DII | Ab II Bb LD VII | F VI F II |

The Law of Resolving Tendencies can clarify some of the choices. For example, the A7 -> D- at the end of the A section can be analyzed in many different ways. However, because D- is clearly F Lydian, I chose Bb Lyd Dim VII for the A7 because Bb Lydian resolves so nicely to F Lydian.

we can now place these on the cycle of 5ths chart:

Ab Eb Bb F C G D A E B F# C#
...................x
.................x
..............x
..............x
.................x
.........x
.................x
..............x
...................x
x
.........x
...........x

Argh, that's not really looking correct when posted, but you get the idea.

===

There is reharm stuff in the older book. Alternate chords can be based on the original analysis, informed by the Resolving Tendencies of the new progression, bass/root movement, melodic movement, and voice leading.

P.S. edit the next day: I was just playing through this tune and I was reminded how many choices there are, while at the same time the Bossa style makes my choices more tonal than other jazz tunes might. Today I liked the Lyd/Lyd Dim II interpretation of F#7 and B7.

[Tom R]

As another relative newcomer, I'm grateful that some of you are still around! This board has answered a lot of my queries and got me genuinely excited - I have the "old" and "new" editions and thanks to people like chespernevins, dogbite and strachs it's finally starting to come together.

Cheers
Tom