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I'm seeing the following:
notes (bottom up) = chords
E/C#/A = Amaj (2nd inversion)
G/D/B = Gmaj
E/B/G = Emin
D/A/G = Dsus4
C/G/E = Cmaj
D/A/F# = Dmaj
B/F#/E = Bsus4
B/E/D = Bmin (w/added 4?) - this one's weird. It could be a second inversion of an Emin7 chord with the 3rd implied??? It's one of those cases where it depends on the context. My suspicion w/o hearing it is that it is simply a continuation of the previous chord, with the 5th (F#) resolving down to the third (D) and the fourth (E) suspended through the chord to give both a sense of resolution and tension.
It's hard to say what key it is in without hearing where it resolves, but it's definitely NOT in Cmaj or Amin. The F# is prominent throughout, so it's possibly in either Gmaj or Emin. However, that leaves the Amaj chord (containing a C#) as the odd non-harmonic chord. Typically, that would be something like a secondary dominant chord that would resolve to Dmaj (or perhaps Bmin or even another secondary dominant, such as Bmaj), but in this case, it's not resolving there. The other, more likely, possibility is that the progression has two sharps (F# and C# [from the Amaj chord]), making the song in either Dmaj or, more likely given the final chords, Bmin. That would leave the Cmaj chord as the non-harmonic chord built on a diminished ii note, which also doesn't fit "traditional" progressions (e.g., secondary dominants). That doesn't mean it's wrong or anything, it basically just means that you're "borrowing" a chord from a relative scale, not that uncommon in modern music and, if it sounds good, that's all that matters. That said, the final progression (Cmaj | Dmaj | Bsus4 | Bmin(sus4) OR II(dim) | III | i(sus)) does not seem like it would be a very strong progression for resolving to a Bmin. Hard to say without hearing it.
Now, if you could just post an audio example, we could hear where it resolves and that would probably confirm the key.
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Last edited by cryophonik on Dec-03-2008 at 20:46
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