Let's have a dialogue on chord progressions?

[Filipe Marquez]

I was thinking right now, about the feeling chord progressions give you. The Major I-IV-V-I has a very defined 'movement', in that each chord has a very distinct charachter. But that same progression in a minor scale sucks ('feeling-wise').

So i wanted to ask you guys if you have any favorite progressions you use with minor scales, if you always use 'embelishments' like substitutions and modulations, that kind of stuff.

Also any additional thoughts on anything else - music or not music related - are welcome. I'm intending to come here more often, since i find this forum very friendly and polite, unlike others that i've tried.

 

[TwilightOdyssey]

Re: Let's have a dialogue on chord progressions?

Well, all chord progressions are basically harmonised scales. When I start a new riff, I try the chord in all it's relative postions. That usually opens up the progression a lot. I don't stick to a formula, tho.

It also depends on musical genre. But let's say I start with an Am chord. I will try it at the ii, iii, and vi chord in those related keys of G, F and C. Then choose what matches your idea the best, not a preconceived formula.

I often write riffs that are based on modes, which is a whole other thing entirely!

 

[Filipe Marquez]

Re: Let's have a dialogue on chord progressions?

Hm, i see. And on modes you just have to think the modes chord by chord right? Or progression by progression?

 

[StillLearnin']

Re: Let's have a dialogue on chord progressions?

Hm, i see. And on modes you just have to think the modes chord by chord right? Or progression by progression?

Let's see - a "mode" is the audible relationship to the chord and the scale being played over it. That's a simplistic explanation. What makes a mode unique usually boils down to one or two key notes in the scale that interact with the chord. like for A dorian (2nd mode in the key of G major) - playing the G major scale over the A min7 chord is the same as playing the A minor scale with a natural 6 over it - just playing the scale is boring so you target notes and introduce phrasing to actually "say" something with it. The natural 6 relating back to A interacting with the Am7 chord is what makes it sound dorian - so using that as a passing tone and leaving the flat 6 out of the mix really drives it home.

So - once you go through the modes and figure out the key note(s) that make something sound in a particular mode, you start targeting those certain notes / intervals instead of locking yourself into one specific relationship.

Example - Bm7 natively occurs in three different major keys - GMaj, AMaj, DMaj. Consequently, if someone is just jammin on a Bm7 chord, you can make it sound dorian, phrygian or aeolian just by targeting certain notes or physically changing the scale you are playing over it. Target the natural 6 for dorian sounding movement (or play the Amaj scale over it), the flat 2nd for phrygian (play Gmaj scale over it), or just the std B min (D maj) scale for natural minor sounds.

I don't evan know where I was going with this, just started typing and I had all this... Hell you probably already know all this anyway.

 

[Filipe Marquez]

Re: Let's have a dialogue on chord progressions?

Thanks man! I knew pieces of it, but didn't had it clarified. You helped me lots!

But now i just can't help getting the feeling that improvising on one scale or creating modes is like sleeping with only one girl or being with several women altogether.

The first one indicates you're really dull and live a boring life. The second makes you look like you're Shaft, and you're in for a menage with 3 different models every night!! :friday: ehiuaehiuaehaiu

 

[TwilightOdyssey]

Re: Let's have a dialogue on chord progressions?

I don't know about that. An empire has been built on the pentatonic scale!

But for writing RIFFS, I gravitate more towards modal thinking. It opens up the keys much more because you are varying your options exponentially.

 

[StillLearnin']

Re: Let's have a dialogue on chord progressions?

I don't know about that. An empire has been built on the pentatonic scale!

Amen on that for sure...

 

[crusty philtrum]

Re: Let's have a dialogue on chord progressions?

I have a conservatorium education (jazz studies). I have seen most of the concepts of harmony (not saying i have mastered it all but i am aware of what it is).

Now i try to stay away from all of that if i'm trying to create something. ('Ya gotta know the rules before ya can break 'em ' i guess). New sounds and ideas lay elsewhere. The theory comes in when it's time to work out what i created and put it into a format that can be written and/or communicated to others so that they can get a handle on the piece and what they might do to be able to fit in with it in some way.

In terms of creativity, i think theory is best learnt and then forgotten in the conscious mind. It's like making the tools so you can work on your car. You don't think about all the tools all the time, you just know they're there when you need to reach for them.

 

[TwilightOdyssey]

Re: Let's have a dialogue on chord progressions?

^ I did not go to a music school, but studied classical and jazz guitar for 10 years. I basically agree with that statement. Theory is merely a tool that can help you express your ideas more quickly and come up with interesting twists in "breaking" the rules.