Jump to content


Please note: You can easily log in to MPN using your Facebook account!

Worry-free group chord progression


Recommended Posts

What makes it worry free?

 

I'll be out of town a couple weeks, so all you have to put up with is my kick-off chord!

 

Which is.........

 

Dm7

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites



  • Replies 33
  • Created
  • Last Reply

Hmmm, I dunno...an Australian like Nolly played it and said "No worries, mate!"???

 

Dm7...lessee...the open chord, or the one barred on the 5th fret? Or maybe yet another position entirely??

"Cisco Kid, was a friend of mine"
Link to comment
Share on other sites

  • 2 weeks later...

Tedster, it's the open Dm7, like the one Janis Ian uses. But feel free to finger it any way you choose. A different position may help one decide what to add next, if at all.

 

So far, there is...

 

Dm7|F|Am

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

Next ?

How about Aadd9 ?

I presume "C2" is the same as what's usually called an "add 9" chord.

For convenience & typing speed I'm maintaining Groeg's terminology through the following example.

 

One thing I've noticed about these chord progression threads is that no one ever edits or shapes them (check, by comparison, "construction project" on this forum), so I'm temporarily highjacking this one to present one idea of how this could form an actual song.

(Not that any of you couldn't do this, just no one has...& I'd like to see other versions)

 

Here goes:

 

"Worry Free"(country/folk stylee)

refrain section

Dm7////- //// F////-////

Am////-//// G////-////

 

verse section

C2//// A2//// C2//// A2////

C2//// A2//// G//// G7////

back to refrain

 

optional bridge

D7////-//// Bb//// G7////

 

Notice how the tension in the refrain (generated by the slight dissonances & the accelerated pace) is relaxed in the verse section ?

Perfect for the "worry free" concept, I think!

 

We are now returning you to regular programming, already in progress...

Link to comment
Share on other sites

"------------------------------------------------------------------------

Next ?

How about Aadd9 ?

I presume "C2" is the same as what's usually called an "add 9" chord. "

 

Is an "add 9" a #9 chord (augmented 9, also +9)? Sounds like it ought to be. Or is that to say it has a 9 but no 7th? I guess that's what's meant.

 

Considering that + usually means augmented, that's kinda confusing.

A WOP BOP A LU BOP, A LOP BAM BOOM!

 

"There is nothing I regret so much as my good behavior. What demon possessed me that I behaved so well?" -Henry David Thoreau

Link to comment
Share on other sites

George, the "worry-free" part of this thing is that I am not keeping myself too involved with it. My involvement in other posts of this type has caused needless rancor and dissent, and the fact that I purposely stated my distance except for re-stating and lining up what contributions were given was an attempt to keep other peoples interest in the whole thing.

 

It was never my intention that this "progression" idea take any particular form. Unlike the "construction project", my objective is to have various people contribute chords, and use them as they see fit. "They" being the operative word. What is done with them, and what goes on during the play of each chord is of no consequence to me. Your suggestion of how to play what is here so far in what you call a "country style" might work for you. But as with the contributor in the "constuction project" of what he/she called a "jazzy" flavor, terms such as those are these days pretty much ambiguous. "Jazzy" could be anything from Satchmo to Sun Ra, and the differences couldn't be plainer! Some I know think that Kenny G. is the best sax player since Charlie Parker! So I prefer not to muddle up the works with those kind of distinctions. Country could mean anything from Roy Acuff to the Georgia Headhunters! If designating a "style" of music is a must for some, the only thing I might ask is to cite an example. For instance, "Here's how I'd play it in a 'Buck Owens' style of country". Then, the intent is more clear.

 

But otherwise, I'd prefer to let any who check in and/or contribute do as they wish. I would not be opposed to have someone report in with an idea of what they've done with it, and you, George, seem to be good at suggesting how they get posted in a way we can ALL get the idea. I'd welcome that.

 

And now, it seems I've lost track with where we are with all of this. Here's what I have so far. Feel free to correct me if I've left something out.

 

Dm7|F|Am|G|C2|Aadd9|

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

C2 vs Cadd9

 

I might be the only one who thinks these mean two different ways to play a C (add D note) chord. When I write a C2 I usually play the D right next to the C. i.e. C4, D4, G4 = C2 I would usually leave out the 3rd also (E)

 

A Cadd9 would be something like E4, G4, D5 where I put the D away from the C note. I think of it as a different inversion I guess. Don't really know where/when I decided to do it this way but it stuck from somewhere.

 

Sorry for any confusion with that chord input. Either way it works for me :)

 

Groeg

Sound Designer,

Red Storm Entertainment

Link to comment
Share on other sites

BTW, I'm fingering this on a piano so I'm not sure what you would do for guitar. Anybody ever use/see this type of chord notation or am I just a freak? :D

 

Groeg

Sound Designer,

Red Storm Entertainment

Link to comment
Share on other sites

Originally posted by Ted Nightshade:

"------------------------------------------------------------------------

Next ?

How about Aadd9 ?

I presume "C2" is the same as what's usually called an "add 9" chord. "

 

Is an "add 9" a #9 chord (augmented 9, also +9)? Sounds like it ought to be. Or is that to say it has a 9 but no 7th? I guess that's what's meant.

 

Considering that + usually means augmented, that's kinda confusing.

Ted, an "add 9" chord is actually a chord that adds a 9th without building on the 7th chord form---that is, you take a basic triad [C=c-e-g] & just add the 9th [d], so the chord becomes [c-e-g-d or c-d-g].

That's why I thought the "C2" chord mentioned above is likely the same thing but, as Groeg mentions in his recent response, he has a paticular voicing in mind.

Link to comment
Share on other sites

WFang, unless there's something done with the material it is just a bunch of cards tossed into a hat, isn't it ?

 

I don't mean we all have to form the same end result (& I think that should be obvious from my post---I think there could/should be several ways posted to work this material) but it's a "songwriter forum" not an "unstructured chord list forum". :D

 

As far as stylistic definitions, I think the sound of the chords alone at the point earlier when I posted clearly suggest a country/folkish harmonic progression---don't you?

True, it might be shaped into another style, but that's not what it sounds like just based on the chord progression (without melody, etc.).

Link to comment
Share on other sites

Point taken, George. I may have been assuming too much that it would be a given that the order the chords are listed and contributed would denote the order the progression is taking. You know, someone looks in and sees a particular chord listed and thinks "this would sound good followed by a (add chord)!" I never for once thought some would look at these contributions as some sort of anagram! Also, in the face of accusations of being "too restrictive", I might have to jump in soon and see if anyone wants to stop at this point and work on a fitting bridge or chorus. Having just said that, chime in, anyone!

 

As far as your country/folk (stylEE) thing is concerned, I was a bit hasty, and apologize! To me, it sounds more "folk" than country. In a general sense, anyway. And I regretfully just concentrated on the "country". Sorry again!

 

Another problem cropping up is that some people contributing are keyboard players, and others are guitarists. Contributions of chords by keyboardists that can sound "full" when played with, say, nine fingers may lose something when translated to four or five fingers on six strings.

If any pianists out there that add to this can give us guitar hacks a clue to transferrence, it would be appreciated. Not all who read and contribute to these forums are at the same level of skill, and if we are going to attempt an inclusive team-like project, this fact should be given due consideration. Yes, this IS a songwriting forum, but songwriting has never been limited only to "professors". This isn't to say anyone should "dumb-down" to anyone else. But let's try to be careful to not assume all can keep up! This is intended to not only be a chance to create, but an opportunity to learn as well.

 

Thank you.

 

And we are still at.....

 

Dm7|F|Am|G(possibly add7)|C2(?)|Aadd9 (a pretty chord on guitar!)|

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

Hey, c'mon, songwriters, let's hear/read some treatments of this material !

 

Now, to further provoke Whitefang ;) (you'll have to re-read his earlier posts to get the joke), here's a "pseudo-jazz" version:

 

!!!10 points to anyone who can cite the Beatle tune mimicked in the first 6 measures!!!

(hin: it's on the White Album)

 

"Worry FreeJazz"

in 3/4,with each chord=1 measure

 

Section 1

Dm--Dm(maj7)--Dm7--Dm6--Bb--F--

Dm--Dm9maj7)--Dm7--Dm6--Bb--Bb--F--Am*--

 

Section 2

G--C2--G--C2--G--C2--Am add9--Am--

Gmaj7--C2--Gmaj--C2--Gmaj7--C2--Cmaj7--Cmaj7--

 

*(for a more "dramatic" effect, sub a plain A major chord.)

Link to comment
Share on other sites

I must admit, I was weeping nowhere near as gently as my guitar after reading your "treatment", George.

 

Not that there was anything basically wrong withit, it sounded good!

 

But the whole thing seems contradictory to what this "chord progression" was intended to be.

 

To explain it more simply, it's much like the whole idea behind the old campfire pastime of yore. This is where everyone helps in creating a story one sentence at a time. When I was a kid, it was usually aimed at creating scary stories. But when we got older, it expanded into mysteries, comedies and even pornography! But each sentence given was more help if it gave a certain "flow" to the storyline. No body ever latched onto the notion of adding footnotes!

 

Until now! It seems what you are attempting is to treat this the same as NC-17's "construction project", an excellent idea in it's own right, but not the intention here.

 

Don't take this as admonishment. I intend no offense, as I'm quite sure you intended none. Just trying to get my idea across.

 

By the way, I liked that "psuedo-jazz" line! And I decided, for my own referrence, to title your treatment "The Waltz of the Weeping Guitars"!

 

Whitefang

P.S. What gives with NC, anyway? He asked me to check PM's I've never recieved, and all attempts to reach him to explain culled no results so far.

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

Originally posted by whitefang:

 

And we are still at.....

 

Dm7|F|Am|G(possibly add7)|C2(?)|Aadd9 (a pretty chord on guitar!)|

 

Whitefang

Something that sprung to mind was 2 beats of G, 2 of Gm, 2 of C2 (no third) and 2 of C.
"That's what the internet is for. Slandering others anonymously." - Banky Edwards.
Link to comment
Share on other sites

Well, Rog, There was no time signature assigned. So the two beats may not be relavent to some. But I'll list them anyway with //'s as the beats.

 

We're at:

 

Dm7|F|G(add7)|C2(?)|Aadd9|G//|Gm//|C2//|C\

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

Well, Whitefang, as I said before, To me this seems an excellent way to explore our various approaches to treating the same/similar material.That seems interesting; listing a series of simple chords...well, I just don't see the point...

BTW, I wish someone else cared enough to offer their thoughts (or even come back to see where things are "going").

 

PS, No the Beatle tune cited earlier isn't "While My Guitar Frets Over Nothing" :rolleyes: ---[hint:select from the Lennon catalog (I thought that Bb-F chord change would be a big clue!) :D ]

Link to comment
Share on other sites

It's hard for me to picture where this is going.....for me. I've never tried to collaborate over an email and it seems difficult to do. I've played through the progeression and can't tell where it's going. Should we pick a key and try to build sections....like verse, chorus, bridge, or are we just putting together a chord progression to solo over.

 

I like what you said about telling a story. Maybe we should pick a series of four measures to write instead of giving one chord at a time. That way you could start your 'story' and I could take it some place and then someone else could take it from there. Just an idea. Don't let this thread die. It could be fun to continue.

 

You guys can still make fun of me and my C2 chord if you want :D

 

Groeg

Sound Designer,

Red Storm Entertainment

Link to comment
Share on other sites

Groeg, I never made fun of the C2 chord. Just that the designation is unfamiliar to me, and I'm not sure I got it right. You never DID get back with that guitar translation!

 

In spite of all that, I figured both you and George had a point, and so I came up with an arrangement of what's here thus far with the addition of three chords; Cm9/6, Cm6 and G.

 

My arrangement is in the order in which these chords hit the thread, is in 4/4 time at moderate tempo. the // symbols indicate the beats each chord is held. You could solo over it, or, if inclined, add any lyrics you come up with. It's up to the individual.

 

Here goes:

 

Dm7//// F/ Am/// Gadd7// C2// Aadd9////

Dm7//// F/ Am/// Gadd7// C2// Aadd9////

G// Gm// C2// C// G// Gm// C2// C//

G// Gm// C2// C// Cm(9/6)// Cm6// G////

 

I've played these chords a couple of other ways, but this is the set-up I liked best.

 

Any others? The chords thus far are:

 

Dm7|F|Am|Gadd7|C2|Aadd9|G|Gm|C2|C|Cm9/6|Cm6|G

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

Re: Whitefang's posted version of "Worry Free".

 

I'm glad you decided to contribute your arrangement, not only because that's what makes sense to me but because I like your version!

 

To be honest I was starting to wonder if you were just "fronting" musically but this makes it clear that that's not the case!

Iespecially like how you break up the cadential rhythm in measures 2, 3 & 4.

 

Again, I like it but in the spirit of comparitive comment, what do you think of this variation?

(Not intended as an improvement, just another variation)

I've shortened the "mysterioso" Aadd9 & shifted the "chorus" a bit.

 

ll Dm7//// l F/Am/// l G7//C2// l Aadd9//G// l

 

l Gm//// l C2//C// ll]

 

Anyhow, thanks! & maybe we'll hear from some of the others now, too...?

Link to comment
Share on other sites

Great job Whitefang!!!! I guess when we submit chords, we should also note the duration too. Just a thought. I was unclear that we had free reign to 'orchestrate' these chords into any rhythm that we so desired. I thought they were each supposed to be played for one measure. I really like what you've done and it makes soooooo much more sense.

 

Sorry about not getting back to you about that translation but I've been pretty busy at work. Now my friend is in Nashville this week, so, I'll get that to you by the end of next week. Sorry 'bout that.

 

Groeg

Sound Designer,

Red Storm Entertainment

Link to comment
Share on other sites

I liked it, George! Do you have any way of fitting in the Cm9/6 andCm6?

 

It's not a matter of "improving" anything. There's nothing to improve! As stated, each can come up with their own ideas. As also stated, I've come up with a couple of others, but didn't like them as much as the one submitted.

 

As for "fronting", well, basically I'm somewhere in between. I'm self taught and unfamiliar with much musical terminology. In other words, I know what I want to say, just unclear on how to say it. But from reading various posts in these forums, I'm learning a lot of glossary. My thanks goes out to you, and all the others who have done so unwittingly.

 

To groeg and other guitarists: That C2 chord that

fumblebucked some guitarists was cleared up for me by an old friend I finally tracked down. He claims (And he would know better than me) that the

C2 can best be translated to guitar as a C9! But still see what you come up with. It might cause some monotony-breaking debate! Actually, I was closer in my guess of how to play it than I thought!

 

Any other arrangements?

 

Whitefang

I started out with NOTHING...and I still have most of it left!
Link to comment
Share on other sites

I would be careful with terminology...

A "C2", as defined earlier by Groeg, is [C-D-G].

 

That's similar but different from a "Cadd9" [C-E-G-D].

 

A "C9" would generally be a 9th added to a 7th chord [C-E-G-Bb-D or C-E-G-B-D].

 

And, of course, all are different from a "C+", which is an augmented chord (with a sharped 5th) [C-E-G#].

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

×
×
  • Create New...