With the melody in the bass line, what do you call these chords?

The posted chord names do n’t make smell to me, unless there is more music that we are not aware of. OP may have secret harmonic considerations, for example, something in their ears that we ca n’t hear, which may mitigate the utility of the rest of this answer. We ‘ll see ….

How Else Might These Chords Be Named?

Seeing F9, I am expecting that chord to be going somewhere, but where ? This would normally be heading to some type of Bb chord ( there are a few early slightly more alien common suspects ), but there is no Bb portray among the other chords ; possibly that is however to come. Further, F9 contains an Eb, which is besides not among any of the give notes. An Fadd9 could make feel here, since the notes of that chord are F, C, and G, i, the root, one-fifth, and ninth of Fadd9. There is some ambiguity since there is no third base here .
The first harmonize is credibly Am7 with A, C, and G, the root, third, and one-seventh of that chord. This is all you need to convincingly articulation a seventh chord ; in fact seventh chord voicings containing only the root, third base, and seventh are then useful and common that they have a name : shell voicings. Let ‘s grant that the first harmonize is Am7, then .
Calling the second base chord CMaj7 seems debatable. The notes here are B, C, and G. If it were a CMaj7, the third is missing ; this in itself is not a deal-breaker. The major 7th is in the sea bass of the chord, which is a little strange, but not unheard of, and again not a deal-breaker. I suppose that it would be very well to call this CMaj7, but thinking of the chords that way makes the chords seem more electrostatic than they are when I play through the actual voicings as written. alternatively, I am tempted to call the second gear chord a G, or possibly dependable, a G11. The written voicing has the root, third, and eleventh of this chord.

The one-third chord contains E, C, and G, so calling it C seems natural.

Given the above, I would be tempted to write the progress as Am7 G11 C Fadd9. That is, in roman numerals : vi7 V I IV. now the IV chord, the Fadd9 might go back to the I harmonize, which seems kind of natural to me since I think that C sounds like the tonic hera.

Pedal Points

It is more coarse to find minor chords with 11ths than it is to find major chords with 11ths ; this is because the third and fourth of a major harmonize are lone a half-step apart, i, the 11th is a minor ninth above the major third base. This sound is n’t always appealing, but sometimes it works identical nicely. In the post music the top two notes C and G are maintained throughout, making them pedal points. Pedal points are normally in the bass, but they do n’t have to be. This actually helps mitigate the disagreement of the G11 harmonize by placing that minor 9th in a larger context ; pedal bespeak passages frequently temporarily admit some noise. Viewed as a pedal point, the C is first the minor one-third of Am7, then the 11th of G11 ( a disagreement ), then the root of the C, and last the one-fifth of Fadd9 .

Wrap Up

So I would, at least as a beginning, think of these chords as Am7 G11 C Fadd9, and if I were looking for early notes to flesh things out I might use the notes of those chords to guide my intend .
incidentally, when I played the mail music I was immediately reminded of this tune by The Shins that was democratic respective years ago .

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