George Benson – This Masquerade – Intro
This Masquerade < All Analyses
Chord Progression
Fm, Fm/E, Fm/Db, Fm/D, Fm, Db9, Gm, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Db9, C7#9, Fm9, Ebm9, D7#9, Dbmaj9, Bb7, Ebm9, D7#9, Dbmaj9, Dm9, G13, Cmaj7, Gm9, G9, C, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Fm, Db9, Gm, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Dbmaj9, C7#9, Fm9
Chord Progression Analysis
Fm (i) – Fm/E (‘i’) – Fm/Db (i over ♭VI) – Fm/D (i over VII) – Fm (i) – Db9 (♭VI9) – Gm (v) – C7#9 (V7#9) – Fm (i) – Fm/E (‘i’) – Fm/Db (i over ♭VI) – Fm/D (i over VII) – Db9 (♭VI9) – C7#9 (V7#9) – Fm9 (i9) – Ebm9 (`iv9) – D7#9 (V7/♭VI7#9) – Dbmaj9 (♭VImaj9) – Bb7 (IV7) – Ebm9 (`iv9) – D7#9 (V7/♭VI7#9) – Dbmaj9 (♭VImaj9) – Dm9 (v9) – G13 (V13) – Cmaj7 (I) – Gm9 (v9) – G9 (V9) – C (I) – C7#9 (V7#9) – Fm (i) – Fm/E (‘i’) – Fm/Db (i over ♭VI) – Fm/D (i over VII) – Fm (i) – Db9 (♭VI9) – Gm (v) – C7#9 (V7#9) – Fm (i) – Fm/E (‘i’) – Fm/Db (i over ♭VI) – Fm/D (i over VII) – Dbmaj9 (♭VImaj9) – C7#9 (V7#9) – Fm9 (i9)
Similar Chord Progressions
1. Stevie Wonder – “Isn’t She Lovely”
D (‘I’) – Bm (vi) – Gmaj7 (IVmaj7) – F#7/♭5 (V7/♭95) – Bm (vi) – A (V) – Gmaj7 (IVmaj7) – F#7/♭5 (V7/♭95)
2. Donald Fagen (Steely Dan) – “I.G.Y.”
Cm9 (i9) – Fm7 (iv7) – B♭maj7 (♭VIImaj7) – G13 (V13) – Cm (i) – A♭maj7 (♭VImaj7) – Fm9 (iv9) – G7sus4 (Vsus4)
3. Antonio Carlos Jobim – “The Girl From Ipanema”
F (I) – G7 (V7) – Gm7 (v7) – F#dim7 (viidim7) – F (I) – G7 (V7) – Gm7 (v7) – E7 (IV7) – Am7 (iii7) – E7 (IV7) – Am7 (iii7) – A♭m7 (♭iiim7)
These chord progressions share similarities with “This Masquerade” in terms of their use of extended and altered chords, as well as the harmonic sophistication often found in jazz and R&B music.
Musical Analysis
The chord progression features many standard harmonic devices used in jazz compositions, such as the use of extended chords (9ths, 13ths), altered extensions (#9), and secondary dominants (D7#9, C7#9). The use of slash chords (Fm/E, Fm/Db, Fm/D) adds complexity and chromaticism to the harmony. The progression modulates briefly to C major and then returns to F minor, an interesting development. The altered extensions and secondary dominants provide tension and spice, which ultimately resolves to the more stable chords.
Overall Analysis
“This Masquerade” by George Benson is a jazz/R&B fusion piece with a smooth and laid-back feel. It features a slightly chromatic and sophisticated chord progression, complete with altered extensions and slash chords, resulting in a rich harmonic texture that is both soulful and intricate. The progression has some similarities to other jazz and R&B chord progressions used by artists such as Stevie Wonder, Donald Fagen (of Steely Dan), and Antonio Carlos Jobim.
Style Analysis
This Masquerade, in terms of style, blends the smoothness of R&B with the arrangement and harmonic sophistication of jazz. George Benson’s skillful use of chord substitutions, chromatic motion, and modulations adds depth and interest to the progression. This results in the chords playing a prominent role in defining the piece, similar to other jazz and R&B fusion songs released during the 1970s.
What are the chords in: George Benson – This Masquerade – Intro?
Fm, Fm/E, Fm/Db, Fm/D, Fm, Db9, Gm, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Db9, C7#9, Fm9, Ebm9, D7#9, Dbmaj9, Bb7, Ebm9, D7#9, Dbmaj9, Dm9, G13, Cmaj7, Gm9, G9, C, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Fm, Db9, Gm, C7#9, Fm, Fm/E, Fm/Db, Fm/D, Dbmaj9, C7#9, Fm9
