Shows us Theory Newbies how to implement chords.

[No name]

Ok, I haven't really yet understood still how to really use chords in music. Suppose I should get into that some time . Anyways, what I propose we do here is simple, and will help many folks.

Give an example of a chord progression. Note which Key you are in, which progressions you use, and then make a small snippet of music using the progression. I think this would help a lot of us grasp how to implement chords into their music.


So any takers?

[BertKoor]

Simple two-bar progression:

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|C  Am  |F  G  |

Repeat until bored, it's in C major...
Most popular played melody to this on piano is "La Mer"

[chardin]

Here are some common progressions found in rock/pop music. The numbers aren't strictly correct but neither is popular music. For example, the II chord in the key of C is supposed to be Dm but playing D G C (II - V - I) sounds good on a guitar. Maybe Toxicator or JumpingJackFlash can explain why.

At any rate, mix and match to taste.

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1.  II - V - I                                  D   C   G
2.  I - VI - II - V                             C   A   D   G
3.  I - IV - V                                  C   F   G
4.  I - IV - I - V                              C   F   C   G
5.  I - IV - III - VI - II - V - I              C   F   E   A   D   G   C
6.  #IV - VII - III - VI - II - V - I           F#  B   E   A   D   G   C
7.  I - II - III - II                           C   D   E   D
8.  I - II - III - bIII - II - V                C   D   E   Eb  D   G
9.  I - bVII                                    C   Bb
10. I - IV - bVII                               C   F   Bb
11. I - #I - II - #II - III - VI - II - V       C   C#  D   D#  E   F   D   G
12. I - bIII - bVI - bII                        C   Eb  Ab  Db
13. I - bVII - bVI - V                          C   Bb  Ab  G
14. I - III - bIII - II - I                     C   E   Eb  D   C
15. I - bVI                                     C   Ab
16. I - IV - II - V                             C   F   D   G
17. I - III - VI - II - V - I                   C   E   A   D   G   C
18. I - bII                                     C   Db
19. II - V - III - VI                           D   G   E   F
20. V - I                                       G   C
21. IV - IVm - III - VI - II - V - I            F   Fm  E   A   D   G   C

[JumpingJackFlash]

the II chord in the key of C is supposed to be Dm but playing D G C (II - V - I) sounds good on a guitar. Maybe Toxicator or JumpingJackFlash can explain why.

Ok, here goes;
With II-V-I as opposed to ii-V-I, the II functions as a secondary dominant - that is, it is actually chord V in the dominant key (V of V). This is a relatively common thing in cadences, when it usually appear in the form IIb-V-I, that is, II in first inversion, with the sharpened 3rd in the bass.

For example, in C-major, II is D, F#, A. - Which is actually chord V in G-major (G being the 5th of C).

A chord like this strengthens the (tonic) key by making a fleeting reference to the dominant (without modulating). It gives a brief look at the sharpwards boundary of the tonic key, but the tonic key is firmly confirmed with the perfect cadence.

[Toxikator]

Precisely. To put it another way, the V-I motion is very strong; so strong, in fact, that going V-I in one key, and then treating the I as a V and going V-I again sounds natural. Of course, the f# in II in CMaj is a bit jarring on its own (being a tritone, though it is borrowed from Lydian), but the strenght of dominant-tonic relationships is such that you can make a tonic out of G, and then that can make a tonic out of C (which can in turn make a tonic out of F, which in turn can make a tonic out of Bb, etc etc etc)

[chardin]

Thanks JJF and Tox.

Here are some more progressions. Again, the numbers aren't strictly correct. But, hey; it's only rock and roll.

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22. I - IV - bIII - bVII                        C   F   Eb  Bb
23. IIm - bVII - IV - I                         Dm  Bb  F   C
24. Im - IV                                     Cm  F

Number 24 properly isn't correct in any book, but I like the sound.

And don't forget to try variations. Instead of C - F - G (#3), try C - G - F. Same chords but a different feeling.

[Toxikator]

Cm-F is a borrowed/chromatic subdominant. It's not really a trick beyond that; it's borrowed from it's neighboring mode and works the same way as the iv (IVm). BTW the reason G#3 (GMaj) works is it comes from the harmonic minor mode, and C-G-F sounds so fundamentally diff. because C-F-G is a circle progression TOWARD the tonic, while C-G-F is a progression AWAY from it.

[nuffink]

Im - IV is a straightforward I - IV progression in melodic minor.

You should be very careful about taking advice from our little problem child. He likes to throw around words like "chromatic subdominant" because it makes it sound like he knows what he's talking about.

[chardin]

Thanks, Tox.

On the G#3, I really meant progression #3 from the chart above.

But I am amazed how switching C-F-G to C-G-F feels so different.

[chardin]

Thanks, nuffink. I want to post some progressions in minor keys but I'm sure the numbers won't be right, so please correct me.

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29. Im - IVm - Vm                               Am  Dm  Em
30. Im - IVm - V                                Am  Dm  E
31. Im - IV - V                                 Am  D   E

Each of these has a different feeling. The variations (Am - Em - D) are fun too.

[nuffink]

29 is from the natural minor
30 is from the harmonic minor
31 is from the melodic minor

All fairly common progressions. I'm sure toxi could define them in pure chromatic bullshit given enough time.

[Toxikator]

Im - IV is a straightforward I - IV progression in melodic minor.

You should be very careful about taking advice from our little problem child. He likes to throw around words like "chromatic subdominant" because it makes it sound like he knows what he's talking about.

I will probably regret this, as I'm sure you'll manage to avoid hearing a word I say since it makes you feel stupid, but this is from my old Theory 101 textbook: Music in theory and practice, volume II, edition 7, by Benward and Saker.

Chapter 4: Borrowed chords.

"Borrowed chords are chords borrowed from a parallel major or minor key. Another term often used is modal mixture."

The exchanged chords listed are ii<>iio, IV<>iv, vi<>bVI, viio/7<>viio7, and i<>I*

*(Picardy 3rd form).

but no, you're right, I just like to talk out of my ass.

(I apologize for Nuffink, he can't stand the idea that I could be right or that something isn't jazz theory, and has a tendency to make claims without citing sources or providing backup. Take his claims w/ a grain of salt)

[nuffink]

Im - IV is a straightforward I - IV progression in melodic minor.

You should be very careful about taking advice from our little problem child. He likes to throw around words like "chromatic subdominant" because it makes it sound like he knows what he's talking about.

I will probably regret this, as I'm sure you'll manage to avoid hearing a word I say since it makes you feel stupid, but this is from my old Theory 101 textbook: Music in theory and practice, volume II, edition 7, by Benward and Saker.

Chapter 4: Borrowed chords.

"Borrowed chords are chords borrowed from a parallel major or minor key. Another term often used is modal mixture."

The exchanged chords listed are ii<>iio, IV<>iv, vi<>bVI, viio/7<>viio7, and i<>I*

*(Picardy 3rd form).

but no, you're right, I just like to talk out of my ass.

(I apologize for Nuffink, he can't stand the idea that I could be right or that something isn't jazz theory, and has a tendency to make claims without citing sources or providing backup. Take his claims w/ a grain of salt)

Is that the same textbook that leads you to make a fool of yourself with every post? I'd get a new one if I were you.

[Guybrush]

A little tip from me as a pianoplayer:

Making your chords and progressions sound nice is not only about having the right notes (harmonies, chords) but alot about in what order you play the notes in them. Say you want to write a progressions from C to F, beginners usually lay each chord in it's standard variation; C: c-e-g to F: f-a-c. When writing progressions (maybe mostly using a keyboard, pianoroll or something that works like the keys of a piano) the general rule of thumb is: The less motion the smoother sound. Skipping between different parts of your keyboard for your chords genrerally sounds noobish. With the C to F progression try playing your C chord with the (2nd) voicing e-g-c and so that you just need to move your thumb and middle finger to f and a while you keep your pinky at the c - since that note is in both chords (first the root note then the fifth).
Ever wondered how all those awsome jazzpianists make their progressions sound smooth? Just lay your chords with voicings that stay the closest possible togheter.

[Toxikator]

Is that the same textbook that leads you to make a fool of yourself with every post? I'd get a new one if I were you.

Euh. Mute.