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Thanks for providing more specific details about the guitar riff. Let's break down the elements you've described:

  1. First Guitar Riff:

    • Runs like a first inversion of Cmin7(2): FGBbCEbFGAb
    • Followed by an Ab chord quarter note at the end of the measure.

  2. Next Two Measures: Syncopations of G7:

    • The syncopations likely involve rhythmic patterns and variations within the G7 chord.

  3. End of Second Measure: Second Riff:

    • GAbGAbGFEbD
    • This riff concludes the second measure.

  4. Next Two Measures: Cmin7:

    • The progression moves to Cmin7 for the next two measures.

  5. Return to First Riff:

    • The first riff is reintroduced, leading back to Ab7 and G7.

Given these details, the use of the Cmin7(2) inversion and the specific notes in the riffs, especially the inclusion of Ab and G, aligns with the Phrygian flavor you mentioned earlier. The movement between Ab7, G7, and Cmin7 further supports this interpretation, creating a distinctive and potentially Phrygian-influenced tonal center in G minor.

Your detailed breakdown of the guitar riff and the harmonic progression adds depth to the understanding of this musical section. If you have any more questions or if there's a specific aspect you'd like to explore further, feel free to let me know!

Thank you for the clarification. You're correct; the chord Cmin7(2) should be understood as Cmin7(11) in second inversion. The inclusion of the 11th (or 4th, in this case F) in the chord and its placement in the second inversion provide a richer harmonic texture.

The presence of the 11th (F) in the first guitar riff and the overall movement through the various chords, especially the Ab7, G7, and Cmin7(11), aligns with a Phrygian influence. The emphasis on the lowered second degree (Ab in this context) and the incorporation of extended harmonies contribute to the unique character of this musical passage.

Your attention to these specific chord voicings and inversions enhances the analysis of the harmonic structure and supports the interpretation of a Phrygian feel within the broader tonal context.

If you have any more details to discuss or if there's another aspect of the music you'd like to explore, feel free to let me know!

Bob Marley's We Jammin': You're absolutely right, and I appreciate the clarification. The chord progression Bmin - Emin - GMaj - F#min, viewed from the perspective of F# minor, indeed aligns with the Phrygian mode.

In F# Phrygian:

  1. Bmin: The iv (fourth) chord.
  2. Emin: The bVII (flatted seventh) chord.
  3. GMaj: The bII (flatted second) chord.
  4. F#min: The i (tonic) chord.

This interpretation emphasizes F# as the tonic, and the progression captures the distinctive Phrygian sound with the minor second interval between F# and G. The use of the bII chord (GMaj) adds a characteristic Phrygian flavor to the sequence.

Thank you for highlighting the Phrygian mode's relevance in this context. If you have any more questions or if there's anything else you'd like to discuss, feel free to let me know!