Easy trick for catchy chord progressions (not a list, a simple method)

[JumpingJackFlash]

A# C D#
to
C D# G

Now for another chord...

From
C D# G
to
G# C D#

Ok, so, assuming I did mean the chords I wrote (the first chord indeed not being a major or minor triad)...how would I notate them?

Respectively:

A# C D# does not form a recognisable triad. The most probable interpretation would be a Cm7 chord without the fifth: C-Eb-Bb (in third inversion if the Bb is the lowest sounding note), however it could be analysed differently depending on context, and might not even be classified as a "chord" at all (it could be a result of unessential notes for example; just a passing vertical sonority).

C D# G should be C-Eb-G, a simple C minor triad.

G# C D# should be G#-B#-D#, a G# major triad (as I said before), or it could equally be Ab-C-Eb, an Ab major triad. If you were in C minor before, then the Ab is more likely (chord VI).

[Nanakai]

Ok, so, assuming I did mean the chords I wrote (the first chord indeed not being a major or minor triad)...how would I notate them?


Just a guess on the notation...Bb C Eb to C Eb G and then to Ab C Eb?


And then...the Calvin Harris example would be Eb Gb Bb D?



Once I get everything squared away I hope to re-post the tip correctly...

First ones look good like that, assuming the things I mentioned before. The Harris example, I'm not entirely sure of as there are some issues. An Ebm7 has a flatted 7th, so it would be Eb Gb Bb Db, but that's a minor issue . Also, in your example, you say that Emaj after a D#m is basically a chord extension, but you're thinking of F#maj. I don't know who Calvin Harris is or what this piece is like, so I don't know how it should be notated exactly, but here are some possibilities:

1) The progression goes from D#m to Emaj, in which case the notes are D#F#A# and EG#B, thereby making no D#m7.

2) The progression is actually D#m to F#maj, in which case the notes are D#F#A# and F#A#C#, making a D#m7 (DF#AC#) when played close enough together.

In the first case, I would notate it with sharps. Emaj is easier to spell with one sharp than 3 flats (FbAbCb), and D#m is just as easy to spell either way.

If the second case is true, it's actually a matter of how the rest of the song is notated, but my guess is that it's in the key of either G# minor or D# minor. The thing about D# minor is that all notes are sharp, so they're also all flatted, too. I would say that you could use Ebm7 just fine, unless you bring some other chords from the song in, but it's up to you. Throwing some sharps in would help shake things up a bit, maybe?

Well, I hope this has helped some. It's not an easy thing to get just from reading some posts.

[JumpingJackFlash]

2) The progression is actually D#m to F#maj, in which case the notes are D#F#A# and F#A#C#, making a D#m7 (DF#AC) when played close enough together.

D#m7 is actually D#-F#-A#-C#.

Emaj is easier to spell with one sharp than 3 flats (FbAbCb)

The key of E major has 4 sharps; F#, C#, G# and D#.
The E major triad is E-G#-B.

The thing about D# minor is that all notes are sharp

You also have the natural sixth (B).

[Nanakai]

2) The progression is actually D#m to F#maj, in which case the notes are D#F#A# and F#A#C#, making a D#m7 (DF#AC) when played close enough together.

D#m7 is actually D#-F#-A#-C#.

Whoops. Slip of the finger.

Emaj is easier to spell with one sharp than 3 flats (FbAbCb)

The key of E major has 4 sharps; F#, C#, G# and D#.
The E major triad is E-G#-B.

This has no bearing on the discussion.

The thing about D# minor is that all notes are sharp

You also have the natural sixth (B).

Right, all except for one then. Point is, Eb minor is perfectly equivalent.