A section:

||: A° | Cmaj | Bmaj | % :||

B section:

||: E- | % | Gmaj | % | D/F# | % :||

So this is just a wild progression in general (at least the a section).  But it gets better.  The bass plays an E pedal every once in a while.  When it's not playing the E pedal do you know what it's doing?  Do ya?  Huh?  No you don't.  It's playing the changes using just roots.  Oh...thats boring.  No it's not because it's playing the changes twice as fast as the organ.  whooooaaaaa dope.  I'll post more about it as it gets working, and I'll even put up an mp3 of it once I am finished mixing it.

Let's talk about this piece here for a minute.  It is very strange so it could use a little bit of justification.  A°...very interesting chord.  Well from D# to F# is a minor third.  Ah, and F# to A is a minor third.  Well, well!  It looks as though we have some kind of strange substitution or parallel voicing.  The A° functions as though it were a vii° chord.

Of course this is now followed by Cmaj, the lowered submediant.  This chord is a very simple substitution made by borrowing from the parallel key of E-.  A very nice sound that leads directly by half steps into the Bmaj, the fifth of the key.

Now the B section is very simple.  i - III - V.  Yea, it's that simple.  But a very nice sound overall; does very well to take you into a kind of bluesy feel, if you give them the right voicings.  Some sparse rhythms could also make for an interesting sound.  Do it up.

Here it is:

| E°  F- | Bb7  Eb- | Ab7  Db | Ab-  Db7 | % | F#  C° |

First some justification/analysis of it all, then a little hint on how to play it sweet.

Analysis:

This is the way I would describe it.  The E diminished is the same as "F flat diminished" which is just stupid.  But either way it is one way of expressing the lowered mediant of the key of Db;  a very nice lead into the actual mediant of the key, which is the next chord, F minor.  From here, you want maybe a nice ii-V-I, because the mediant can function as a substitution for the tonic, which pretty much (in jazz) takes you straight to the ii-V-I.  So here we have a little bit of secondary dominant action.  The Bb7 is the dominant chord in the key of Eb harmonic minor.  So why not use it to lead into the Eb- (the supertonic in the key of Db).  Good deal!  We've arrived at the ii chord!  Well now all that's left is to go "V-I".  Go.  Done.  Now we're safely at the Db.  But what, who wants a booooooring single key progression like this.  Oh, oh, I know.  Let's bring it down a little bit.  Oh well look at that, we could just play a little ii-V-I in F#, thats a nice sound now isn't it.  Beautiful.  I guess the only thing left is to get back to the beginning.  Well hmmmmmmm... hey, C° is the vii° chord in Db!  And well done, we've made a circular progression.  Yayyyyyy.

Now a couple hints on making it sound nice.

This is undoubtedly a jazzy progression.  Play it clean, some good, relatively flat equalization.  Use all the appropriate embellishments/tensions.  My version consists of a lot of chromaticism in the voice leading.  If you do it right, you can get a very nice movement of the upper voice just going straight down from the E° all the way to the Db, and if you're really good, beyond.

UP, UP, AND A AWAY!