Uplifting Chords??

kevorkio

kevorkio

New member
Hey guys i would like to know how to make Uplifting chords... Are they minor major 9th,7th??
How do i made those!


Thanks alot in advance
 
Are u talking bout just chord or the whole composition? Listen to ewf(earth,wind,& fire), evn their sad songs make u feel good. Band coach or pumthrust prob have more theory insiight, but I think it's more about the composition than the chords. Might be wrong


Disclaimer: it's late been drinking
 
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Nothing to disclaim, there mwandishi....

as far as I am concerned, uplifting is a state of mind more than anything.

here are some other tunes (mostly white guys, but hey, good music is good music regardless of colour) that fit the concept of uplifting

Steely Dan - Do it again (sample only) Gm[sup]7[/sup]-Cm[sup]7[/sup]-Dm[sup]7[/sup]-E[sup]b[/sup]Maj[sup]7[/sup]-Dm[sup]7[/sup]

cf with the video (bad lip-syncing and all)



Steely Dan - My old school



Carlos Santana - Evil Ways



Doobie Brothers - Listen to the Music

Verse:
D[sub]/E[/sub]-E-D[sub]/E[/sub]-E-A[sub]/E[/sub]-D[sub]/E[/sub]-E-D[sub]/E[/sub]-E-A[sub]/E[/sub]-D[sub]/E[/sub]-E-D[sub]/E[/sub]-E-A[sub]/E[/sub]-D[sub]/E[/sub]-E-D[sub]/E[/sub]-E-A[sub]/E[/sub]-C[sup]#[/sup]m[sup]7[/sup]-B[sup]7[/sup]sus[sup]4[/sup]-B[sup]7[/sup]-A[sup]7[/sup]-A[sup]13[/sup]-A[sup]7[/sup]-A[sup]7[/sup]sus[sup]4[/sup]-A[sup]7[/sup]
Chorus
C[sup]#[/sup]m[sup]7[/sup]-A[sup]7[/sup]-C[sup]#[/sup]m[sup]7[/sup]-A[sup]7[/sup]-C[sup]#[/sup]m[sup]7[/sup]-A[sup]7[/sup]-F[sup]#7[/sup]-F[sup]#13[/sup]-F[sup]#7[/sup]-F[sup]#7[/sup]sus[sup]4[/sup]-F[sup]#7[/sup]-A[sup]7[/sup]-A[sup]13[/sup]-A[sup]7[/sup]-A[sup]7[/sup]sus[sup]4[/sup]-A[sup]7[/sup]



Doobie Brothers - Long Train Running (Without Love)

in D minor (I think)



I'll pop some other examples in when I can.....


@KhleoK: that won't create the feel or vibe of a great chord progression, which is what this thread is really about
 
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thanks for the reply but i mean like chords that u would hear on a brassy jeezy type beat or some epic movie
 
Examples are always useful in giving you an answer to this type of question, seriously, so give us some specific examples of what you are trying to achieve......
 
That answer you can find if you study music theory,you want to combine different chords to achieve a certain energy,you would want to combine the sus chords(either suspended 2 or 4) with the tonic chord,that depends on the mood that you're tryin' to create.
 
Why not just click around in the piano roll all you need is three (maybe 4) notes.I swear I'm never gonna learn music theory lol it like ruins people.
 
kevorkio said:
Example 1
My President is Black--Young Jeezy feat. Nas - YouTube
Example 2
young jeezy - The Recession (Intro) - The Recession - YouTube


thats the type of stuff i want something that make u feel like u won something or a victorious feel

---------- Post added 07-29-2012 at 07:13 PM ---------- Previous post was 07-28-2012 at 12:48 PM ----------

no one??
Click to expand...



I[sup]b[/sup]VII[sup]b[/sup]VIivV[sup]7[/sup]iv[sup]b[/sup]VI[sup]b[/sup]VII
AGFDmE[sup]7[/sup]DmFG
A[sub]3[/sub]B[sub]3[/sub]C[sub]4[/sub]D[sub]4[/sub]E[sub]4[/sub]D[sub]4[/sub]C[sub]4[/sub]B[sub]3[/sub]
E[sub]3[/sub]G[sub]3[/sub]F[sub]3[/sub]A[sub]3[/sub]G[sup]#[/sup][sub]3[/sub]A[sub]3[/sub]F[sub]3[/sub]G[sub]3[/sub]
C[sup]#[/sup][sub]3[/sub]D[sub]3[/sub]A[sub]2[/sub]F[sub]3[/sub]D[sub]3[/sub]F[sub]3[/sub]C[sub]3[/sub]D[sub]3[/sub]
---D[sub]3[/sub]B[sub]2[/sub]D[sub]3[/sub]A[sub]2[/sub]-
A[sub]1[/sub]G[sub]1[/sub]F[sub]1[/sub]F[sub]1[/sub]E[sub]1[/sub]F[sub]1[/sub]F[sub]1[/sub]G[sub]1[/sub]

I'll check the other one tomorrow
 
Ok thx alot bandcoach but is there a "recipie" to chords like that?? Major,minor,9ths,7th. a specific scale?
 
kevorkio said:
Ok thx alot bandcoach but is there a "recipie" to chords like that?? Major,minor,9ths,7th. a specific scale?
Click to expand...

No recipe as such, as in a lot of cases the formulae won't work:

In the example above,

We start out in A major but in the second chord we modulate to A natural minor by the time we reach the E7 chord, we have modulated again to the A harmonic minor and we then reverse our modulation sequence.

If we strip out the passing chords (every other chord) the progression is as follows:

A-F-E[sup]7[/sup]-

If we were to continue this progression so that each chord V[sup]7[/sup] becomes a new chord I, we might run the following

A-F-E[sup]7[/sup]-C-B[sup]7[/sup]-G-F[sup]#7[/sup]-D-C[sup]#7[/sup]-A-G[sup]#7[/sup]-E-D[sup]#7[/sup]-B-A[sup]#7[/sup]-F[sup]#[/sup]-F[sup]7[/sup]-Db-C[sup]7[/sup]-A[sup]b[/sup]-G[sup]7[/sup]-E[sup]b[/sup]-D-B[sup]b7[/sup]-A-F-

and so on.

add in passing chords of your choice to heighten the feeling of winning

in the case given we started as

A-(G)-F-(Dm)-E[sup]7[/sup]-

so we might continue as

A-(G)-F-(Dm)-E[sup]7[/sup]-(Dm)-C-(Am)-B[sup]7[/sup]-(Am)-G-(Em)-F[sup]#7[/sup]-(Em)-D-(Bm)-C[sup]#7[/sup]-(Bm)-A-(F[sup]#[/sup]m)-G[sup]#7[/sup]-(F[sup]#[/sup]m)-E-(C[sup]#[/sup]m)-D[sup]#7[/sup]-(C[sup]#[/sup]m)-
B-(G[sup]#[/sup]m)-A[sup]#7[/sup]-(G[sup]#[/sup]m)-F[sup]#[/sup]-(E[sup]b[/sup]m)-F[sup]7[/sup]-(E[sup]b[/sup]m)-D[sup]b[/sup]-(B[sup]b[/sup]m)-C[sup]7[/sup]-(B[sup]b[/sup]m)-A[sup]b[/sup]-(Fm)-G[sup]7[/sup]-(Fm)-E[sup]b[/sup]-(Cm)-D-(Cm)-B[sup]b7[/sup]-(Gm)-A-

and so on.

What we begin to see in ths example is that the minor chords resolve to two different chords along this progression, e.g.

DmE[sup]7[/sup]DmC|AmB[sup]7[/sup]AmG|EmF[sup]#7[/sup]EmD|BmC[sup]#7[/sup]BmA
a:ivV[sup]7[/sup]C:iiI|e:ivV[sup]7[/sup]G:iiI|b:ivV[sup]7[/sup]D:iiI|f[sup]#[/sup]:ivV[sup]7[/sup]A:iiI

From this we can suggest that we move between the relative minor and major in each group of four chords, A minor to C major, E minor to G major, B minor to D major and F[sup]#[/sup] minor to A major


alternatively we could have:
A-(G)-F-(Dm)-E[sup]7[/sup]-(D)-C-(Am)-B[sup]7[/sup]-(A)-G-(Em)-F[sup]#7[/sup]-(E)-D-(Bm)-C[sup]#7[/sup]-(B)-A-(F[sup]#[/sup]m)-G[sup]#7[/sup]-(F[sup]#[/sup])-E-(C[sup]#[/sup]m)-D[sup]#7[/sup]-(C[sup]#[/sup])-
B-(G[sup]#[/sup]m)-A[sup]#7[/sup]-(G[sup]#[/sup])-F[sup]#[/sup]-(E[sup]b[/sup]m)-F[sup]7[/sup]-(E[sup]b[/sup])-D[sup]b[/sup]-(B[sup]b[/sup]m)-C[sup]7[/sup]-(B[sup]b[/sup])-A[sup]b[/sup]-(Fm)-G[sup]7[/sup]-(F)-E[sup]b[/sup]-(Cm)-D-(C)-B[sup]b7[/sup]-(Gm)-A-

note that this time we use the Major version of the passing chord on the second appearance of each naming note, e.g. F-(Dm)-E[sup]7[/sup]-(D)

DmE[sup]7[/sup]DC|AmB[sup]7[/sup]AG|EmF[sup]#7[/sup]ED|BmC[sup]#7[/sup]BA
a:ivV[sup]7[/sup]IV[sup]b[/sup]III|e:ivV[sup]7[/sup]IV[sup]b[/sup]III|b:ivV[sup]7[/sup]IV[sup]b[/sup]III|f[sup]#[/sup]:ivV[sup]7[/sup]IV[sup]b[/sup]III


the choices are many and hard to enumerate as different chord choices at one level will affect available chord choices at another level.
 
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Putting let's say a C maj into a C min scaled track can often be interesting and have an uplifting feel to it.
 
No, that is not what was written; for this type of epic/uplifting chord progression, the normal rules of chord progression construction (ii-V-I/ii[sup]b5[/sup]-V-i) do not apply.

there are some rules of thumb (heuristics) that we can use but for every example I could give, there will be many more counter-examples


do a search on "chord progression" and posts by "bandcoach" for more info on this......
 
bandcoach what's a real way to learn chord progression? i mean something that really helps you on making them and not only too theory stuff
 
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