use more notes then only the chord notes.

[matthy]

hi I am mostly in the mainstream trance section because you stay in the same scale. I am pretty good at making melodies with that but I really want to move a but furder. so I started learning chord progression

wel lets yust say I have these chords
A-Min notes:E,A,C
E-Min notes:E,G,B
B-Min notes:D,F#,B
D-Maj notes:D,F#,A

the problem is when only using these notes so only the chord notes at the chord it gets boring quickly, so what I want to make is a sort of progression that I can use more than the 3 notes in a chord and its octaves.

I hope you guys understand what I am trying to say but I cant give a good example because I dont know how to make any.

I know there is a possibility but don't know wich are there sites for that for explanation or can someone explain?

Cheers
Matthy

[nuffink]

Any note a semitone above any chord note is likely to sound very dissonant.
Any note a tritone (six semitones) above any chord note is likely to sound mildly dissonant.
Other than that, fill your boots. Certain notes will sound more consonant, others less so. The decisions you make are part of what defines your sound.

Even the dissonant intervals can sound good in context, but probably not for tarnce.

[D.H. Miltz]

Possibly helpful:
http://www.8notes.com/resources/notefin ... chords.asp
http://musiced.about.com/library/chords ... chords.htm

http://www.beyond.dk/chords/

http://en.wikipedia.org/wiki/Chord_progression

First two are the same thing, essentially.

[trewq]

Some terminology would help:

You are looking for 'chord extensions'. They are notes that extend those triads to chords having 4, 5, or 6 notes. They can either be within the home key (scale) that those chords have established(A dorian - 2nd mode of GMajor), or outside of it - like substituting FM7 (F,A,C,E) for Am. Other than that about extensions, you just need a good chord/scale reference that will list and sound the differences for you.

[MOK19]

Useful truism:
People are more tolerant of elements of dissonance the higher frequency the tones are in the register, and the farther spaced they are. So if you're looking to spice up a chord, you'll probably settle with higher notes than what you've already got. So if you try to put in an extension note in the same octave as the up-front sounds, and it doesn't work, try again at a higher octave.

Also, try busting out a MIDI chorder VST, if you've got one, and browse the different chord presets. Try it out. It really helped me.

[buckshead]

I suggest that you try to find out about passing notes, neighbour tones, indirect resolution, escape tones and double chromatic approach. Its not quite as simple as sticking to the three notes in the chords.

Chords with tensions like major, minor and natural 7ths, 9ths, 13ths and their combinations with the addition of flattened and sharpened 5ths and also sixths

You can also use chords with different bases, and slash chords with one triad above another.

Read this up, it'll keep you going for a lifetime

[soulata]

hi I am mostly in the mainstream trance section because you stay in the same scale. I am pretty good at making melodies with that but I really want to move a but furder. so I started learning chord progression

wel lets yust say I have these chords
A-Min notes:E,A,C
E-Min notes:E,G,B
B-Min notes:D,F#,B
D-Maj notes:D,F#,A

the problem is when only using these notes so only the chord notes at the chord it gets boring quickly, so what I want to make is a sort of progression that I can use more than the 3 notes in a chord and its octaves.

I hope you guys understand what I am trying to say but I cant give a good example because I dont know how to make any.

I know there is a possibility but don't know wich are there sites for that for explanation or can someone explain?

Cheers
Matthy

depends on the tonality, I'm not really sure what's the basic tonality here, but you can definetly try adding the 7th on the minors (one whole tone below the root) and 9ths (whole tone above the root):

Amin would look like : A-C-E-G-B (not Bb!)
Emin - E-G-B-D-F#
Bmin - B-D-F#-A-C#
Dmaj - D-F#-A-C#-E or maybe try D-F#-A-B-E (that's D6/9)

If your song is in D major, A minor doesn't really fit into it, but if it sounds good under the melody...


You could try the same chords with different bass notes like:
instead of A min
D with A in bass (A-D-F#-A)
Emin with G in bass with added 7th G-B-D-E-G
Bmin with F# in bass and added 7th : F#-A-B-D-F#
and end with D-F#-A-C#-E

that way you get nice movement in bass notes.

cheers

k

[jamesmcfadyen]

Going a bit further you can do the following:

G Maj = D F# A

F Maj = C E G B

Bb Maj = Ab C Eb G

[soulata]

Going a bit further you can do the following:

G Maj = D F# A

F Maj = C E G B

Bb Maj = Ab C Eb G

I wouldn't omit 3rds in a chord, and Bb maj can't use Ab and Eb, that'd be Bbsus9 (Bb, Eb, F, Ab, C)

[afreshcupofjoe]

Going a bit further you can do the following:

G Maj = D F# A

F Maj = C E G B

Bb Maj = Ab C Eb G

I wouldn't omit 3rds in a chord, and Bb maj can't use Ab and Eb, that'd be Bbsus9 (Bb, Eb, F, Ab, C)

Funny, my one of my favorite things to do musically is to omit 3rds from chords and stack lots of extensions upon them. I find leaving the chords maj/minor quality ambiguous creates a certain airy atmosphere that really makes the emotional impact of the major/minor qualities felt more strongly when they are used. There is nothing wrong with omitting 3rds from chords. This isn't the 18 century ya know.


Then again trance is all about slamming you in the face with the emotional quality of the chords. You could almost say it's all about the thirds, which is why I find it to be so goddamn cheesy (not that there is anything wrong with that). So, I guess your advice is appropriate.

[soulata]

Oh well, I do that sometimes, too. But would not advise it to someone that searches for possible extensions blindly.

I pretty well know how things sound with or without thirds, but unless you're using powerchords thru all of the tune (and all of the tunes) I wouldn't want to go without any of the thirds...

btw, using fourth instead of a third isn't really omiting the third ... because you can rarely have both...


(I've stopped making sense, didn't I)

k

[jamesmcfadyen]

The mistake is thinking "chords" instead of "harmony".