ericmeyer4
New member
I was reading something about useing parallelism in your chord progressions. Can someone explain what this means? THanks
eric
eric
Parallelism?!
- Thread starter ericmeyer4
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dd12939
New member
Re: Parallelism?!
If it's what I think it means it's referring to having successive chords in which the notes have the same intervallic relationships. For example, if you play an open D chord, you'll have A - D - F# on the top three strings. Move it up to the 9th fret to an A chord and you've got E - A - C#. In both cases you have a perfect 4th between the bottom two notes and a major 3rd between the top two.
On the other hand if you look at a riff like Pink Floyd's "Run Like Hell", it starts out with a D chord: F# - A - D (minor 3rd, perfect 4th) and goes to an A chord: E - A - C# (perfect 4th, major 3rd). Again, you go from a D to an A, but this time the relationships between the chord tones is different (inverted)
A couple of good examples of parallelism... The bridge in Steely Dan's "Peg" where it goes from F#m7 to Bm7 to Em7. Also in Tool's cover of "No Quarter" the part starting about 7:15 is a great example, especially once Adam Jones throws in the extra 5th and root on the G and B strings.
Hopefully I explained wha you were talking about...
If it's what I think it means it's referring to having successive chords in which the notes have the same intervallic relationships. For example, if you play an open D chord, you'll have A - D - F# on the top three strings. Move it up to the 9th fret to an A chord and you've got E - A - C#. In both cases you have a perfect 4th between the bottom two notes and a major 3rd between the top two.
On the other hand if you look at a riff like Pink Floyd's "Run Like Hell", it starts out with a D chord: F# - A - D (minor 3rd, perfect 4th) and goes to an A chord: E - A - C# (perfect 4th, major 3rd). Again, you go from a D to an A, but this time the relationships between the chord tones is different (inverted)
A couple of good examples of parallelism... The bridge in Steely Dan's "Peg" where it goes from F#m7 to Bm7 to Em7. Also in Tool's cover of "No Quarter" the part starting about 7:15 is a great example, especially once Adam Jones throws in the extra 5th and root on the G and B strings.
Hopefully I explained wha you were talking about...
