Risposta a @anniedan.34 As requested, here is a viral progression, based on the circle of fifths, transposed to the key of F major. This progression can be analyzed in 2 different ways: 1. Simplified Harmonic Analysis: Uses enharmonic equivalents and root-position symbols for the diminished chords to keep the reading intuitive, as shown in the chord symbols used in this video: IVM7 | iv°7 | iii7 | bIII°7 | ii7 | V7 | IM7 | bII°7 2. Advanced Functional View: To understand the real harmonic logic, let's look at what would happen if we wanted to build a purely diatonic circle-of-fifths progression using seventh chords. In the key of F, the root progression following this scheme would be: Bb - E - A - D - G - C - F. - Diatonic Baseline (Hypothetical): A fully diatonic progression following this exact scheme would be: Bbmaj7 - Em7b5 - Am7 - Dm7 - Gm7 - C7 - Fmaj7 - Diminished Substitutions: To increase harmonic interest and create a less obvious sound, we substitute Em7b5 and Dm7 with their diminished seventh variants: Bbmaj7 - E°7 - Am7 - D°7 - Gm7 - C7 - Fmaj7 - Voice Leading & Inversions: To minimize bass movement and add elegance, we voice the diminished chords with specific inversions: Bbmaj7 - E°7/Bb - Am7 - D°7/Ab - Gm7 - C7 - Fmaj7 - Secondary Leading Tone: At the end of the circle, we introduce a secondary leading tone to resolve smoothly back to the fourth degree (Bb). We use an A diminished seventh chord (A°7). Landing first on F, we voice it with a Gb in the bass (A°7/Gb) to create a smooth chromatic ascending bassline. Real Harmonic Analysis: IVM7 | vii°4/3 | iii7 | vi°4/3 | ii7 | V7 | IM7 | vii°4/2/IV #pianotutorial #pianoplayer #chordprogression #jazzchords #circleoffifths - @chordcamera