"First of all, never write songs to try and make a chart hit...."
God forbid! If that were my intention, I'd write lyrics in English (rather than in minority languages). Really, my question was purely out of curiosity and to certain extent, coming from the perspective that that you should have a good understanding of the conventions in order to be able to subvert them (most) effectively.
The only chart I might conceivably have a chance of making would probably be a world music chart.
"You can use the Secondary Triads to good use (chords 2,3,6 and 7)."
I make a point of using them, reversing the polarity of chords 2, 3, and 6 occasionally, and flatt(en)ing chord 7 and occasionally chords 3 and 6.
"What I would suggest to you, as an artist talking to another artist, is let your creative juices flow. If there is any aspect of modern songs that lack anything - it is undoubtly the harmony, it's boring and very predictable."
My own sentiments, to a certain extent.
"There are lots of nice colours you can make by using Modal Harmony and even Chromatic Harmony, which can carry a song far longer and project a stronger message than basic [C, G, C, F, G, G7, C] Type chord progressions."
I play around with various modes in my melodies, especially the Lydian, Mixolydian, Dorian, (and occasionally Phrygian and Locrian) modes.
"Here's a few of my own chord progressions to get you started:
1) [Em, Cmaj7, Am9, Fmaj7]
2) [Bbmaj7, Fmaj7(#11), Cadd9, Dm7(9)]"
These look interesting and not altogether unlike some of my own progressions (I like to use the jazzy maj7 (9/11, etc.) chords especially for a mellow Latin/bossa nova-like flavour).
"By the way, chord progressions are copyrighted, so feel free to steal them, just bear in mind tho that having ur own style is what the game is all about, so stealing chord progs isn't helping that really, but by all means use the two chord progs above if you wish and see what you can make out of them."
James, I'm sure you meant to say was that chord progressions are NOT copyrighted. I see nothing wrong with using a chord progression that has already been used by someone else, especially if your end product sounds radically different (especially in terms of rhythm and instrumentation, etc.) to the music in which the chord progression was originally used.
Nothing to do with music, James, but I'd take an educated guess from your surname that you've got a Donegal connection. It's interesting that you spell it with a 'y' to express the slenderised/palatal quality of the 'd' in the authentic Gaelic pronunciation (but maybe that's the normal spelling in Scotland?). In Ireland it's generally anglicised as McFadden.
"so which mode does the second progressions represent???
I am just curious because it sounds cool..."
If I'm not mistaken, Parakalo, the second chord progression is built from the C dominant bebop scale. I think I may have a go at using this progression as well.
Just curious.