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I recently came up on a Gretsch, traded for my first flamenco and been fooling around with it. This little diddy came out and I was going to start writing more to it when I realized I could not for the life of me figure out what key it's in..... Anyone have an idea? The chords are something like. D - DMAJ7 - D7 - B7 - Gminor - D inverted or a weird F# - Eminor - A - D
D It's just that you've got a chromatically descending lead so you have some alterations in there, but in the barebones format I'd say it's I-IV-I-ii-V-I. That's my guess.
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D It's just that you've got a chromatically descending lead so you have some alterations in there, but in the barebones format I'd say it's I-IV-I-ii-V-I. That's my guess.
Yes it’s D. When using Roman numerals the practice is to name secondary dominants whenever accidentals pop up with a slash, and pronounced “the five of ....” and inverted triad chords as I6 or I64 etc... by hand the 6 is tiny and hangs uppper right and the 4 goes under the 6. 7th chord inversions use 6/5, 4/3, and 4/2. Weird classical music annalysis practices stem from figured bass... classical equivalent of a jazz chart for improvisation.
D Dmaj7/C# or F#m/C#... can’t tell if D string rings out. D7/C...again if no D note is present it’s an F#diminished/C or viio6/4/IV(seven diminished in second inversion OF four) B7 Gm D/F# Em A7 D
So it’s I, iii6/4, V4/2/IV (five seven in third inversion OF four), V7/ii (five seven OF two), iv-I6, (minor four borrowed from parrallel minor key of d minor, plagal cadence to one in first inversion), ii- V7-I (perfect cadence I think.)
Ahhhhh awesome thanks guys! I knew this’d be the place! I was thinking D but the B7 was throwing me off. The F#/D business does have the D string ringing that’s why I was leaning towards it just being an inversion of D cus I just play F#-A-A-D-F#
"Anything you do can be fixed. What you cannot fix is the perfection of a blank page. What you cannot fix is that pristine, unsullied whiteness of a screen or a page with nothing on it—because there’s nothing there to fix."
The descending line - D , C#, C ends up at B and the B7 clearly implies a bridge to E (major or minor), i.e. functioning as chord V.
So...the D(7)/C chord could then be seen as F#m7b5 (if you include the E which sounds fine) as this pairs up nicely with the B7 as a (minor II V) tonicization into Em.
Tonicization into G (Em's rel. major) would have worked too, but it doesn't do any of that.
The Gm which follows is an abrupt harmonic non-sequitor because of the Bb i.e. sore thumb. But it goes well with the rest as a resolution to D as you have all said.
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