So i understand scales and chords and the relations between chords and the root of the scale. My question though is what creates tension and what creates resolution.
Going up or down a certain Degree changes on direction..
A to C is a minor resolving in its third. but C to A is a third resolving to a minor. so the first example creates a feeling of happiness, and the second of sadness. Am i right?
How about with 4ths and 5ths, going up to a fourth is the oppisite of going down a 5th, so is it creating tension going up a 4th or down a 5th? or would it create tension going up a 5th and down a 4th. And ending at the root of the scale will create greater resolution from a 5th then a 4th, but doesnt the 4th shadow a root greater since its fifth is the root?
I just need some knowledge on how i can create tension and move a song along properly.
ChordProgressions Help me with creating tension and resolutions please..
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- KVRAF
- 7837 posts since 20 Jan, 2008
Tension and resolution rarely are settled by simply throwing complex chords next to each other. Much of the dramatic affect is in timing and melodic note choice against the chord or other secondary melodic motives.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRist
- Topic Starter
- 33 posts since 18 Jun, 2011
Ahh okay so the timing is more important... So is there a relative relationship between changing chords(do jumping 5ths or 4ths work best with longer pauses or shorter? how about triads and seconds?)
as with the other melodolic content, say i have a the chord progression of
iii V IV I
and a bass line to complement it
iii V IV I (these are just using the root note, not the complete Chord)
Would using inversions work if the lowest note of the chords arent the same as the bass?
And with melodys say i use (once again just the note not full chords) iii I iii I iii V, Then i have iii-V chords go on to lead into the next melody with the same rythm that goes ii vi ii vi I to the IV-I chords would the use of root and fifths create a feeling of excitment and then concluding on a minor third increase(also root of second chord) would that be a feeling of closure at the end of each Phrase and would this looped create a sense of movement?
as with the other melodolic content, say i have a the chord progression of
iii V IV I
and a bass line to complement it
iii V IV I (these are just using the root note, not the complete Chord)
Would using inversions work if the lowest note of the chords arent the same as the bass?
And with melodys say i use (once again just the note not full chords) iii I iii I iii V, Then i have iii-V chords go on to lead into the next melody with the same rythm that goes ii vi ii vi I to the IV-I chords would the use of root and fifths create a feeling of excitment and then concluding on a minor third increase(also root of second chord) would that be a feeling of closure at the end of each Phrase and would this looped create a sense of movement?
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- KVRAF
- 11162 posts since 16 Mar, 2003 from Porto - Portugal
i think you are approaching the worng way. Tension is not created by piling chords (quite the opposite, IMO). Try to sustain a note (let's say a C), and play Am, Dm, E, Am again. You will listen to tension and distension, caused by the C in the top. Consider this as a melody, and look into further examples like this.Gho5tly wrote:Ahh okay so the timing is more important... So is there a relative relationship between changing chords(do jumping 5ths or 4ths work best with longer pauses or shorter? how about triads and seconds?)
as with the other melodolic content, say i have a the chord progression of
iii V IV I
and a bass line to complement it
iii V IV I (these are just using the root note, not the complete Chord)
Would using inversions work if the lowest note of the chords arent the same as the bass?
And with melodys say i use (once again just the note not full chords) iii I iii I iii V, Then i have iii-V chords go on to lead into the next melody with the same rythm that goes ii vi ii vi I to the IV-I chords would the use of root and fifths create a feeling of excitment and then concluding on a minor third increase(also root of second chord) would that be a feeling of closure at the end of each Phrase and would this looped create a sense of movement?
Also, try to go from a chord to another, but keep a note of the older chord sounding through the new one. THIS creates tension.
Look into the opening of Isolde Liebestod from Tristan und Isolde by Richard Wagner - this piece is one of the most famous examples of how tension is created and maintained thoughout almost the entire piece.
Fernando (FMR)
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- KVRist
- Topic Starter
- 33 posts since 18 Jun, 2011
I tried your suggestion and i heard the tension between the notes, at E there was almost no tension at all. and about going from chord to chord with a note being sustain like going from Cmaj to Gmaj to Dmin(withDontop) to Amin(with A and C on top).
Doing that creates big tension(a huge jump but still harmonic) from the Cmaj to Gmaj and then gradually decreases in tension to Am which contains 2 of the notes in Cmaj so going back to Cmaj shouldn't sound bad, and it doesnt, but it has no tension.
And i keep getting told that piling chords doesnt create tension, but im just trying to learn which chords create tension.
I know most V resolve to I because they contain the most tension in the scale, but is it that the tension is built up to or that the resultion gives us the feeling that there was tension in the first place. Also, four note chords with its highest note an octave above its root harmonizes perfectly, but going up to its second or third creates tension, so i know that tension can be caused by notes differing by more then a fifth, excluding the octave. I just would like to know if there is a rule as to the tension between chords,
like in songs where there is a break with a chordal progression how is tension built to anticipate a drop/new section of music.
I have found going down 5ths or up 4ths gives a sense of resolution, so doing the oppisite gives a built tension, going up thirds or seconds just moves the song along alittle with no in your face changes. And yes i understand that tension is built as the chord plays peoples anticipation of resolution increases.
tl;dr: what is the rule to create chordal tension?
EDIT: i found that tension notes are the 7th,9th,11th and 13th.
And a simple rule is that if the vii chord appears on top of the chord it will sound bad, also it sounds better if a major is on top of another major or a minor on a minor(that sounds wrong, but so right xD).
so I would sound good extended, as would IV.
V extended sounds okay but the 7th note sounds better flat.
iii sounds better if its 9th is flat, but more tensional if sharp.
ii and vi both sound good extended.
Doing that creates big tension(a huge jump but still harmonic) from the Cmaj to Gmaj and then gradually decreases in tension to Am which contains 2 of the notes in Cmaj so going back to Cmaj shouldn't sound bad, and it doesnt, but it has no tension.
And i keep getting told that piling chords doesnt create tension, but im just trying to learn which chords create tension.
I know most V resolve to I because they contain the most tension in the scale, but is it that the tension is built up to or that the resultion gives us the feeling that there was tension in the first place. Also, four note chords with its highest note an octave above its root harmonizes perfectly, but going up to its second or third creates tension, so i know that tension can be caused by notes differing by more then a fifth, excluding the octave. I just would like to know if there is a rule as to the tension between chords,
like in songs where there is a break with a chordal progression how is tension built to anticipate a drop/new section of music.
I have found going down 5ths or up 4ths gives a sense of resolution, so doing the oppisite gives a built tension, going up thirds or seconds just moves the song along alittle with no in your face changes. And yes i understand that tension is built as the chord plays peoples anticipation of resolution increases.
tl;dr: what is the rule to create chordal tension?
EDIT: i found that tension notes are the 7th,9th,11th and 13th.
And a simple rule is that if the vii chord appears on top of the chord it will sound bad, also it sounds better if a major is on top of another major or a minor on a minor(that sounds wrong, but so right xD).
so I would sound good extended, as would IV.
V extended sounds okay but the 7th note sounds better flat.
iii sounds better if its 9th is flat, but more tensional if sharp.
ii and vi both sound good extended.
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- KVRist
- 364 posts since 15 Aug, 2009
The best way to create tension is to crank the music up really loudly at 3am during the work week.
The resolution occurs when the police arrive, a brick flies through the window, or an eviction notice appears on the door.
The resolution occurs when the police arrive, a brick flies through the window, or an eviction notice appears on the door.
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- KVRAF
- 11162 posts since 16 Mar, 2003 from Porto - Portugal
Tension is a matter of balance between consonance and dissonance. Also, is a matter of giving what's expected or surprising the auditioner. You surprise the auditioner by giving him something that shouldn't be there.Gho5tly wrote:I tried your suggestion and i heard the tension between the notes, at E there was almost no tension at all. and about going from chord to chord with a note being sustain like going from Cmaj to Gmaj to Dmin(withDontop) to Amin(with A and C on top).
Doing that creates big tension(a huge jump but still harmonic) from the Cmaj to Gmaj and then gradually decreases in tension to Am which contains 2 of the notes in Cmaj so going back to Cmaj shouldn't sound bad, and it doesnt, but it has no tension.
And i keep getting told that piling chords doesnt create tension, but im just trying to learn which chords create tension.
I know most V resolve to I because they contain the most tension in the scale, but is it that the tension is built up to or that the resultion gives us the feeling that there was tension in the first place. Also, four note chords with its highest note an octave above its root harmonizes perfectly, but going up to its second or third creates tension, so i know that tension can be caused by notes differing by more then a fifth, excluding the octave. I just would like to know if there is a rule as to the tension between chords,
like in songs where there is a break with a chordal progression how is tension built to anticipate a drop/new section of music.
I have found going down 5ths or up 4ths gives a sense of resolution, so doing the oppisite gives a built tension, going up thirds or seconds just moves the song along alittle with no in your face changes. And yes i understand that tension is built as the chord plays peoples anticipation of resolution increases.
tl;dr: what is the rule to create chordal tension?
EDIT: i found that tension notes are the 7th,9th,11th and 13th.
And a simple rule is that if the vii chord appears on top of the chord it will sound bad, also it sounds better if a major is on top of another major or a minor on a minor(that sounds wrong, but so right xD).
so I would sound good extended, as would IV.
V extended sounds okay but the 7th note sounds better flat.
iii sounds better if its 9th is flat, but more tensional if sharp.
ii and vi both sound good extended.
Let's take you V-I progression. If you resolve the V into the I, that's not tension, that's what is supposed to be. But let's that you have G and insted os solving it to C you solve it to A (A major, with C#). This is achieved by raing the B to C# instead of C, the G to A, and D to E. Then you may proceed from A to D (which is the IV of A, but also the V of G) and then, insted of resolving to G, resolving to G minor. And you can go on, and on, and on, and if you add sevenths to the resolving chords, then the tension even more, because the auditioner loses ground of the tonality - tonality is still there, but WHICH tonality?
Now, on top of this, crete a melodu that has passing notes, not present on the harmony (some of them may be the sevenths of the resolving chords, which contributes even more to the tension).
There is no recipy, these are just some tricks I usually do when I sit at the piano, improvising. Most of the tiome, things doesn't work, or stop working at some point, but other times interesting things arise.
What you must understand is that harmony is not what conducts music - it is at service of the music, it's the dressing. Melody is the body. If you cannot build an interesting meldic motif or melodic phrase, a chord progression, in itself, is pointless.
And after that you have arrangement and orchestration, which may transform a t-shirt in a tuxedo.
Fernando (FMR)
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- KVRist
- Topic Starter
- 33 posts since 18 Jun, 2011
Yes tension is the dissonance that an audience doesnt expect, however i know there are some rules(some based on opinions but rules of their own merit none the less) all the neat tricks you know are rules, atleast to your knowledge those work.
I was making arrangements with interesting chordal progressions and sub-par production skills, but my melodys never left the chordal tones so it sounded nice but never had any edge to it. nothing interesting or shocking happened, now that i know to incorporate tones complimentary to the chord played a huge new door has opened.
And about going from G to Amaj, that would be okay in music that doesnt rely on a tonal center to drive the song. If i was orcastrating or creating a teathrical score that would be great, but i make EDM so its not really the type of tension I'm looking for.
Thanks for that though, im playing it and enjoying learning new ways to play.
I was making arrangements with interesting chordal progressions and sub-par production skills, but my melodys never left the chordal tones so it sounded nice but never had any edge to it. nothing interesting or shocking happened, now that i know to incorporate tones complimentary to the chord played a huge new door has opened.
And about going from G to Amaj, that would be okay in music that doesnt rely on a tonal center to drive the song. If i was orcastrating or creating a teathrical score that would be great, but i make EDM so its not really the type of tension I'm looking for.
Thanks for that though, im playing it and enjoying learning new ways to play.
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- KVRer
- 5 posts since 27 Jul, 2011
The most tension will be when the V7 chord resolves to the I chord.
(V7= the chord buildt on the fifth note in the scale. Ex, if the key is C, the V7 chord will be G7. I= the chord buildt on the first note in the scale, so if the key is C the I will be the C)
Hopes this helps
Eban
(V7= the chord buildt on the fifth note in the scale. Ex, if the key is C, the V7 chord will be G7. I= the chord buildt on the first note in the scale, so if the key is C the I will be the C)
Hopes this helps
Eban-
- KVRist
- Topic Starter
- 33 posts since 18 Jun, 2011
what about V9 or 13? would adding more notes take away from the tension?torry011 wrote:The most tension will be when the V7 chord resolves to the I chord.
(V7= the chord buildt on the fifth note in the scale. Ex, if the key is C, the V7 chord will be G7. I= the chord buildt on the first note in the scale, so if the key is C the I will be the C)
Hopes this helps
I dont see(hear) that happening. it seems to me that as long as the chord is voiced well harmonically and the root leads to the root of the next chord that it would sound good and find resolution.
But going from a G7 to a a C chord, is there a rule that chordal progressions should keep the same amount of notes or would resolving to a simple C chord find the most resolution from the tension.
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- KVRAF
- 2217 posts since 15 Jul, 2003
The Berkleee school uses certain conceptual framework that may be what you're looking for
http://www.amazon.com/Berklee-Jazz-Keyb ... 0876391218
basically
upper structure triads create tension
lower structure triads provide consonance
naturally by about page 2 these are referred to as USTs and LSTs
It's kind of an academic but useful book, but it's building an additional conceptula framework on what the text assumes is a well-understood common theory background
http://www.amazon.com/Berklee-Jazz-Keyb ... 0876391218
basically
upper structure triads create tension
lower structure triads provide consonance
naturally by about page 2 these are referred to as USTs and LSTs
It's kind of an academic but useful book, but it's building an additional conceptula framework on what the text assumes is a well-understood common theory background
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
I think there is a lot of good advice on this thread. I'd like to discuss something that hasn't been touched on yet. I think you want to know how to add tension and create resolution by using notes that fall outside of the chords and scales you are choosing.
Using your example of iii V IV I, I would treat the iii and the I as the same chord (tonic I) and the V and IV as dominant (I am treating IV as a suspended dominant chord). So, to create melodic movement, I will play dominant scales over V & IV and resolve to the tonic major scale over I and iii. The target note I will want to resolve to will probably be the 3rd note of the tonic, but I could also resolve to other notes of the chord and it would still sound OK.
The dominant scales I would play would be either the V dominant or its tritone substitution, the bII dominant. The V dominant will sound consonant and the bII will sound dissonant, but when you resolve to one of the chord tones of the tonic at the end of your melodic phrase, all is well.
I hope this simplified explanation makes sense to you. There is also a method to creating harmonic movement using notes outside of your key, but I have yet to successfully explain it to anyone online. It can get complicated but it is full of beautiful surprises. You could try searching some of my old posts here for examples.
Using your example of iii V IV I, I would treat the iii and the I as the same chord (tonic I) and the V and IV as dominant (I am treating IV as a suspended dominant chord). So, to create melodic movement, I will play dominant scales over V & IV and resolve to the tonic major scale over I and iii. The target note I will want to resolve to will probably be the 3rd note of the tonic, but I could also resolve to other notes of the chord and it would still sound OK.
The dominant scales I would play would be either the V dominant or its tritone substitution, the bII dominant. The V dominant will sound consonant and the bII will sound dissonant, but when you resolve to one of the chord tones of the tonic at the end of your melodic phrase, all is well.
I hope this simplified explanation makes sense to you. There is also a method to creating harmonic movement using notes outside of your key, but I have yet to successfully explain it to anyone online. It can get complicated but it is full of beautiful surprises. You could try searching some of my old posts here for examples.
Drugs and alcohol have never helped me creatively, but for others it seems to be an essential part of the process. 
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- KVRist
- Topic Starter
- 33 posts since 18 Jun, 2011
Well I just learned about secondary chords, namely secondary dominants.
And i understand alot more because of that, but Is it used in the genre of music i make, which is EDM.
If anything i would probrally put it in a section where all is quiet and chords take the main stage. But i think i understand now how great tension can be made.
by using Secondary domminants the audience wouldnt expect that out of key chord to be played but when played in a way that sounds okay at the moment the listener will keep attention to what may happen next.
That kinda goes over playing notes not in the specific key one is in. by playing say a V7(with a major7th?,leading tone?, whats the write name for this chord?) then that note is a diminished fifth from the root note but secluded it builds tension to the root notes arrival.
And i understand alot more because of that, but Is it used in the genre of music i make, which is EDM.
If anything i would probrally put it in a section where all is quiet and chords take the main stage. But i think i understand now how great tension can be made.
by using Secondary domminants the audience wouldnt expect that out of key chord to be played but when played in a way that sounds okay at the moment the listener will keep attention to what may happen next.
That kinda goes over playing notes not in the specific key one is in. by playing say a V7(with a major7th?,leading tone?, whats the write name for this chord?) then that note is a diminished fifth from the root note but secluded it builds tension to the root notes arrival.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
If you're doing dance music I don't think you have to take this music theory stuff so seriously. Tension in dance music comes from the rhythm, synth timbres, textures and layers, effects such as filter sweeps, etc. The only dance music I hear with interesting chord changes is some jazzy house music or live bands such as Incognito.
Drugs and alcohol have never helped me creatively, but for others it seems to be an essential part of the process.
