Is this progression I wrote a ii V I in C Major?
- KVRist
- Topic Starter
- 137 posts since 10 Feb, 2010
Hi. My progression goes dmin9 Gmin7b5 CMaj9 C7with9 F13 Bdim7 C7 Amin7 then starts over. Is it a ii V I in C like I suspect, or is it something different? It's perhaps more than a ii V I because there are more chords than that, but I'd heard of a ii V I before so I thought it worthwhile to ask. (ii V I I IV VII I VI) lol could be wrong.
Thanks for your replies.
Thanks for your replies.
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- KVRAF
- 5717 posts since 8 Jun, 2009
It looks, at first glance, to be two passes through a ii-V-I structure (albeit with some borrowing from the parallel minor). On the second pass you have a IV, which can take the place of a ii and the diminished chord that follows acts as a dominant. The Amin at the end then acts as a dominant to the ii that kicks it off again.
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
If you have Gm7b5 C9 F, it's ii V I in F*. You kind of do but with a 'Maj9' inserted. Your chord labels have me questioning what they are: you find a necessity to show the C9 as having a 7th, but there is a plain 13 for the F. Normally I would take that as F7, at least, with a 13. If that's it, ie., your thinking is F13 is sufficient, C9 is as well.
I would never say the minor/minor 7 chord (Am7 here) acts as a dominant. That's a reach, in order to shoehorn function in where it does not appear to work like that. Dmin9, if it's D minor with a 9th is probably not i; in the jazz sort of practice where we talk a lot about ii V I the V is an actual dominant type, ie., major triad minor 7 (Maj/Min 7) construction by definition. Minor quality *v* isn't dominant in character or function.
F7 (13) is dominant type. There's no reason any of it has to be standard per se. You do have IV V I in C after sort of *tonicizing the F/IV (by a definite dominant of F to F).
It is the root movement 2 5 1 in C, yes. It's ii, [minor] v, I, however.
The normal function ii V I, no. Your label "CMaj9" probably indicates Major 7 type, add 9; so at face value it's tonic type.
I would never say the minor/minor 7 chord (Am7 here) acts as a dominant. That's a reach, in order to shoehorn function in where it does not appear to work like that. Dmin9, if it's D minor with a 9th is probably not i; in the jazz sort of practice where we talk a lot about ii V I the V is an actual dominant type, ie., major triad minor 7 (Maj/Min 7) construction by definition. Minor quality *v* isn't dominant in character or function.
F7 (13) is dominant type. There's no reason any of it has to be standard per se. You do have IV V I in C after sort of *tonicizing the F/IV (by a definite dominant of F to F).
It is the root movement 2 5 1 in C, yes. It's ii, [minor] v, I, however.
The normal function ii V I, no. Your label "CMaj9" probably indicates Major 7 type, add 9; so at face value it's tonic type.
Last edited by jancivil on Sun Dec 02, 2018 4:18 pm, edited 1 time in total.
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
If we did have A7 to Dm9, the latter can both be temporary tonic and ii of C. To me Am7 doesn't work to tonicize Dm.
Jazz changes actually came about by tonicizing non-tonic chords in standards and Broadway show tunes.
Jazz changes actually came about by tonicizing non-tonic chords in standards and Broadway show tunes.
- KVRist
- Topic Starter
- 137 posts since 10 Feb, 2010
Thanks. I'm going to try a lead in F lydian. I haven't a clue how to write the bassline other than to go "D, G,C, etc". Also, I decided that instead of running through the progression a second time in its original format that it should then go to D7, G7, C6add9.
*sorry for my bad chord labeling!
*sorry for my bad chord labeling!
- KVRist
- Topic Starter
- 137 posts since 10 Feb, 2010
I'm so sorry! I told you a wrong chord...jancivil wrote: ↑Sun Dec 02, 2018 4:12 pm If you have Gm7b5 C9 F, it's ii V I in F*. You kind of do but with a 'Maj9' inserted. Your chord labels have me questioning what they are: you find a necessity to show the C9 as having a 7th, but there is a plain 13 for the F. Normally I would take that as F7, at least, with a 13. If that's it, ie., your thinking is F13 is sufficient, C9 is as well.
I would never say the minor/minor 7 chord (Am7 here) acts as a dominant. That's a reach, in order to shoehorn function in where it does not appear to work like that. Dmin9, if it's D minor with a 9th is probably not i; in the jazz sort of practice where we talk a lot about ii V I the V is an actual dominant type, ie., major triad minor 7 (Maj/Min 7) construction by definition. Minor quality *v* isn't dominant in character or function.
F7 (13) is dominant type. There's no reason any of it has to be standard per se. You do have IV V I in C after sort of *tonicizing the F/IV (by a definite dominant of F to F).
It is the root movement 2 5 1 in C, yes. It's ii, [minor] v, I, however.
The normal function ii V I, no. Your label "CMaj9" probably indicates Major 7 type, add 9; so at face value it's tonic type.
The Gm7b5 isn't right. It's actually a G7#5. I apologize.
maybe now my thinking it was a ii V I actually makes sense with a V instead of a v. Lol! sorry
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- KVRian
- 1000 posts since 25 Feb, 2008 from Sydney, Australia
Slightly OT, but George Michael used a I vi ii V7 in C, in "Last Christmas".
Basically doo-wop, but swapping the F for Dm, to get a proper ii V7 I happening.
Basically doo-wop, but swapping the F for Dm, to get a proper ii V7 I happening.
Prestissimo in Moto Perpetuo
- KVRAF
- 25051 posts since 20 Oct, 2007 from gonesville
Struck me as a bit odd, or weak considering the seemingly goal-oriented kind of thing you had going.