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Care to share chord progressions?


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Hey all ... do you have any intresting chord progressions you would like to share?

 

Here is one, from Aimee Mans "Red Vines":

E | C#m | G#m | A

E | C#m | G#m | G# | A | E | B | F# | F#m

Resolves to E

 

Here is one I wrote:

Verse: Dm | Bb | Gm | Bb | G | C | C#dim :||

Chorus: F | C | Am - A | Bb - Bbm :||

 

Anyone want to share a few?

 

Bonus: Each person that posts to this thread, contribute a chord to the "Thread progression". I'll start it:

 

B

 

(I wonder if this will fly....)

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Originally posted by Griffinator:

Bonus: Each person that posts to this thread, contribute a chord to the "Thread progression". I'll start it:

 

B

OK - I'll play

 

C#dim6

F#min7

 

Whitefang

I started out with NOTHING...and I still have most of it left!
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Are we going to consider the voicing of the chord ?

:idea:

Also, to avoid the lengthy quotes within quotes, I suggest that each contributor to "thread progression" mention this (temporary ?) title & then just list the chords (perhaps with an indication of duration), adding their contribution ...?

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Originally posted by D.B. Walker:

I'll add a E, so:

 

B | C#dim6 - F#m7 | E

 

Next?

Hey! D.B.! After the first three, I thought E was a good step to take, too! Cool!

 

Whitefang

I started out with NOTHING...and I still have most of it left!
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C' mon people, add a few more chords ... this will be fun ... when we get a few more ... we could .... take a stab at demoing this up and putting word and melody over it and then compair what we come up with ...

 

It could be a lot of fun!

 

And as far as voicing goes, I figure anything goes...

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OK, I'm in...

If I'm reading this right, so far we have:

(presuming this is in 4/4)

 

B //// C#dim6// -F#m7// E////

 

so I suggest the next measure be:

Bb7//-F//

 

OK ?

 

[i [i]do[/i] have one question.

I know dim. (1-b3-b5-bb7) & half-dim. (1-b3-b5-b7) chords but I'm not sure what 'dim.6' is...would that be (1-b3-b5-6)? & if so, in this context could it be subbed with A7 ?]

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Nope, I definitely meant F(the Bb7 serves as a modultion device). Sounds fine to me !

 

PS, still wondering about that confusingly named "C#dim6"...

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Thanks, Skip, what about the measure count ?

 

I guess your suggestion about the "mystery chord" could work...still it'd be nice to know what our co-author intended...

:wave:

 

I'll lay out with contributions 'til we get further on...

Next ?

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Yes,that's my intention but the first few measures were divided by DBWalker...

It was his idea, so maybe we should allow him arrangement decisions...

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I'm trying to work this out on guitar, and it sounds so WEIRD! And I can't quite catch that "mystery" chord either. Skip and NC seem to be taking this in an unusual direction. I think the problem might be the array of musical ideas coming in from undetermined areas. DB might have had a particular genre in mind, or maybe not. But the rest of us might, and it's beginning to clash a bit. Without measures, speed, signature etc. etc., how I'm playing all this HAS to be in a manner different from this guy's to that person's.

 

And I STILL say drop that F!

 

It all makes some sense 'till then...

 

Whitefang

I started out with NOTHING...and I still have most of it left!
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Originally posted by whitefang:

I'm trying to work this out on guitar, and it sounds so WEIRD! And I can't quite catch that "mystery" chord either. Skip and NC seem to be taking this in an unusual direction. I think the problem might be the array of musical ideas coming in from undetermined areas. DB might have had a particular genre in mind, or maybe not. But the rest of us might, and it's beginning to clash a bit. Without measures, speed, signature etc. etc., how I'm playing all this HAS to be in a manner different from this guy's to that person's.

 

And I STILL say drop that F!

 

It all makes some sense 'till then...

 

Whitefang

Well, let's see...this began as an unstructured exercise in group composition so there's bound to be some confusion & disagreements, I suppose.

I suggest, again, that we defer control to DBWalker.

 

As to "justifying" my offering, WFang, obviously different people like different things BUT what harmonic concepts are you tied to ? Maybe you prefer simpler/ more cliched things.

I think my suggestion sounds fine (& before you ask, I've played piano since I was 12 & guitar for almost three years---& sorry,WF, but we all have different skill levels & I can't stop myself from pointing out that you had no problem with the "C#dim.whatever" til others pointed out its unlikely nomenclature). :cry:

Like I said before, I'm out 'til later.

 

PS, Griffinator, you still there ?

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First off, NC, I offered only ONE CHORD to this project, NOT three or four! Who's taking over what? I assumed that's what DB was asking. Your statement about an "airy, jazzy tone" says volumes about where your head is at with this, and now I can go back and re-evaluate! I accepted the mystery chord based on the ninth not making it far from it's diminnished base. I could be mistaken. I also assumed that for fun, we were all to contribute to a chord "progression", NOT an orchestration. If people are going to saturate all this with whole chords replacing single notes of melody, we'll just have to call it "Ode to Orff"! I think the whole thing would go smoother if everybody trying to get involved, and that includes me, quits coming online only to jack-off to their chordal literacy!

 

And by the way, I haven't seen DB's name in here for a spell. I'm beginning to think he's sitting back from his monitor, grinning and chortling from deep in his belly, like Jabba the Hut!

 

Where'd he go?

 

Whitefang

PS. I meant all I said in a GOOD way, NC! No cliche!

I started out with NOTHING...and I still have most of it left!
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Originally posted by NC-17:

Well, let's see...this began as an unstructured exercise in group composition so there's bound to be some confusion & disagreements, I suppose.

I suggest, again, that we defer control to DBWalker.

again I suggest we leave things up to DBW ... presuming he(she?) hasn't given up on what was a good, community-spirited idea.

 

Whether my contribution is accepted won't hurt my feelings but let's not bicker; as scuttlebutt has it these forums may not be here forever. :cry:

Like I said before, I'm out 'til later.

Whitefang, sorry to get you so upset but it was you who decided to criticise the contributions of others (not just mine, either) & to decide what was "appropriate".
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Hi there,

 

I'm new and this is my first post.

 

Here's a new progression for the thread

 

A Minor | E Minor |

Gm7b5 | E Minor (one octave higher)

 

This is fun with a shuffled reggae or latin groove. I'll pass on adding a new chord to the group progression for now.

 

Nteleky

«········»

Pursue the pursuit regardless.

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On Control: I love the chaos, I think it's cool and I'm learning a bit about how the participants in the thread put together cadences...

 

I'm just looking for ways to expand the lexicon of my writing, and this has been good for me (Was it good for you too? :) )

 

On the arrangment: I think each of us should come up with what works best for you.

 

On the particular chords thrwon out: Use what you think will sound the best.

 

On Jabba the hut: I'm not that fat! :) But I have had several sessions and rehearsals that have kept me from responding.

 

On simple and cliche': I like simple music as well as complex music, as long as there is a point to the tune, some sort of emotional connection to me with the sound, playing or the lyrics ... then I like it. I think the same can be said for most of us.

 

On what to do next: I'm going to take the ideas thrown out here and try to use it as a seed for a tune, and post my results to my website. It would be cool to hear what others got out of this exersize as well.

 

Further on next: Lest start a new progression! This one was fun!

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Hi there,

 

I'm new and this is my first post.

 

Here's a new progression for the thread

 

B Minor | F# Minor |

Gm7b5 | F# Minor (one octave higher)

 

This is fun with a shuffled reggae or latin groove. I'll pass on adding a new chord to the group progression for now.

 

Nteleky

 

(Damn, sorry about the double post, that must have happened when I edited the post, but this is progression I meant to share.)

«········»

Pursue the pursuit regardless.

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Nice way to "take a sad song & make it better".

 

DB has already started another project thread.

I think your song deserves one, too, rather than be buried here behind all this blather.

 

I personally do not think anyone need feel less than another because of either's relative skills or knowledge; we're all in various stages of development.

I do think it's wrong when someone mistakes whether they like something for a definition of good/bad....(how's that old phrase go?..."I don't know much about art but I don't like what I don't know"...or something).

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Originally posted by NC-17:

 

[/qb]

Whitefang, sorry to get you so upset but it was you who decided to criticise the contributions of others (not just mine, either) & to decide what was appropriate.[/QB]

 

Hey, it was just the F I was questioning, not really being critical. Sorry. And it WAS just your contribution that this happened. I mentioned the weird direction you and Skip were taking it, but that wasn't critcism. Just an observation. On guitar, it was hard at first to figure out the role of the F. It didn't seem to "fit" into how the whole thing was flowing for me. Shifting into some of these chords on this instrument is dicey if not starting in different fingerboard positions. I've had a chance to try the F in different tempos and as an intermediate, and sometimes it DOES work, and at other times it DOESN'T. So I'll rescind my earlier apprehenshions.

 

And DB STILL hasn't said if B was intended as the main key or not, has he?

 

Whitefang

GO WINGS!!!

I started out with NOTHING...and I still have most of it left!
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weird, eh?

well good-that should make it a more interesting exercise. whenever you have a new tonality being established, like the F, the easy thing to do is just extend the previous chord for half a measure, or even a full one-that`s what arrangement is about. We didn`t set any parameters for this, so if you just run the chords together it`s going to sound unfocused-don`t let it melt the elastic in your shorts, fer chrissake.

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I start with the sound.

 

We should all remember that music theory "rules" are after the fact guidelines & that they matter more to teachers. Lots of non-standard things sound great (and, in fact, this is how European theory has changed through time---by the adaptation of new ideas). It's great to know the tools but if we're overly concerned with formulae guess what it sounds like ?

Also, no one should feel intimidated or doubt their own abilities compared to others just because of what they like.We're all at various stages of development, now and throughout our lives.

Music is not a competition, it's a composition.

(In this regard, check some of the discussion under that "Is it all about Lead ?" thread over on the Guitar forum.)

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Good point, NC-17

I mean, there`s nothing I see that`s really `outer space` about the progression. A slick arranger (not me of course, no no) could come in and do something right off. in fact, I`ve got a friend who does this all the time. His name`s Dip Stickler. I`d call him over, but he`s kind of a pain in the-

 

"yo yo, whassup doggies?"

 

...ass...

 

"so you wanna make a phat sounding jam outta that progression? no prob, lucheros. Hmm...I`d say set the-yo Skip..."

 

Hmm? what?

 

"hands off the console, dog..."

 

Oh. Sorry, mon.

 

"Yo, do something useful, dog. Go roll a blunt."

 

Dip, we don`t have a lot of time here. Could you just...

 

"yeah, yeah, arright. Y`all don`t do this too often, right? okay, set the tempo at about 125 per minute. Then we`ll take the first chords-up to the E-as an A section. Each chord gets one measure-four beats.

 

B//// C#dim6//// F#m7//// E////

 

Play that twice. Then we use the B7 to introduce the B section. That gets two measures-eight beats.

Yo, are you sure this is okay with that D.B. dude"

 

It`s just an example. I`m sure he won`t mind.

 

"Arright. Anyway...

 

B7////////

 

then the B section. We can break it into two parts. In the second part we`ll rearrange one or two chords, just to flesh it out..."

 

F//// C#maj7//// Eb//// Eb9////

then

Ab//// F//// Cmaj7/// Eb// Eb9//

 

Repeat that whole thing twice. Now we`ll probably want to go back to the B. So how do we get there? check it, dog. This is why I get the big green, the cars..."

 

Dip...just finish it!!

 

"Arright. So we`re at the Ab. we`ll use that to set up the turnaround...eight beats"

 

Ab//////// Ab// F// Bb// F#// -Back to B

 

"I`m only doing this cause we`re tight, dog..."

 

Thanks, Dip. Anyway, that`s one example.

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Skip;

 

Personaly, I wouldn't spend a lot of time with anyone who would use the term "phat"!

 

Don't let my use of the word "weird" lead you to believe that it means I don't like it. When I heard the first Mothers of Invention album back in '66, I thought IT was weird, and have been a loyal fan ever since! And I kinda LIKE the feeling of the elastic melting in my shorts!!

 

DB; My concern over the key was merely knowing how to get "home". I pictured one of those lounge singers, years from now, turning to the band and asking them to play "Ode to Orff" in the key of....and not knowing just what to say! And before KC kicks in with some kind of pretention, a musical work DOES have to get "home"! A key to wrap the work in and around, unless you might want to argue the fact with Beethoven. Seems to me that all his work was in the key of something!

 

Whitefang

P.S. Where in the hell did this thing wind up last, anyway?

I started out with NOTHING...and I still have most of it left!
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