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Thread: Questions about chords and progressions

  1. #1
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    Questions about chords and progressions

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    Hello there people,


    I've been reading lots of tutorials and read many many posts from Bandcoach about chords. But I still don't understand something. I don't play any instruments by the way, I always just draw my notes on the piano roll in my daw.

    I know about scales and I know which chords there are.

    For example, I got the scale Eb major. That means the notes are: Eb F G Ab B C D Eb.

    Now I always make my chords like this:

    Major example:

    Eb - G - B -> G - B - D -> F Ab C -> Ab - C - Eb

    but, now my question is, can I use the different chords in 1 progression? Because I always just choose one chord, and make the whole progression with it in my scale. But can you use like a major triad to a power chord and then to a minor 7th for example? Or do you always choose one chord and make a progression with that?


    Another question, do chord progression always belong to 1 scale? Because I hear people in tutorials talk about: We gonna use a D major chord, a C major chord and an A minor. (Just an example I don't know if it actually works or sounds right :P) but then I am like: wtf. So you want me to put a major triad in de D scale, then a major triad in the C scale and then a minor triad in the A scale? Or am I not understanding it right?

    Please help me

  2. #2
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    First off,
    You spelled the Eb major scale wrong, it is:
    Eb F G Ab Bb C D

    2nd, Yes, you can use different chords in a progression.
    For example, a jazz standard I LOVE (besides Love for Sale and Stolen Moments) called Recorda-me not only uses different chords in its B section, but it changes keys several times:
    /C-7 F7/Bbmaj7/Bb-7 Eb7/Abmaj7/Ab-7 Db7/Gbmaj7/
    Here is an audio example: https://www.youtube.com/watch?v=gw_6iJOlvUE
    This becomes clearer once you learn your chord-scales and the Nashville Number System.
    There are three key changes happening up there, all in one song. Lets analyze the first key change: C minor(2nd chord of Bb major) to F(5th chord of Bb major) to Bb major(Tonic chord). Each of these chords belong to the key of Bb major. This is the major 2-5-1(ii-V7-I) progression.
    Now, we don't have to play each of those chords as 7 chords-we can alter/extend each one to whichever sounds the best to our ears and leads to the next chord the smoothest. In the audio example, I played the V chord not as a 7th but as a 9th chord because it just sounds better and going to that tonic chord.
    Last edited by Pumpthrust; 09-07-2015 at 01:34 PM.
    Quote Originally Posted by scrapheaper View Post
    Only on future producers could someone ask about melody and have two posts which don't mention anything about notes.

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  4. #3
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    Quote Originally Posted by Ditcher View Post
    Another question, do chord progression always belong to 1 scale? Because I hear people in tutorials talk about: We gonna use a D major chord, a C major chord and an A minor. (Just an example I don't know if it actually works or sounds right :P) but then I am like: wtf. So you want me to put a major triad in de D scale, then a major triad in the C scale and then a minor triad in the A scale? Or am I not understanding it right?

    Please help me
    The Bb issue has been addressed

    Your question above D /// | C /// | Am /// | D /// ||

    This progression exists in G major or D mixolydian so is a valid progression

    Put more simply it is possible that several chords can be found in the same key/modal center

    In any major scale there are three major triads, three minor triads and a diminished triad. for each of the modes built on that major scale (2-dorian, 3-phrygian, 4- lydian, 5-mixolydian, 6-aeolian, 7-locrian) the same number and types of triads can always be found

    Scale tone Chord type Spelling Chord symbol
    1 Major 1-3-5 (no symbol usually used)
    2 minor 2-4-6 m
    3 minor 3-5-7 m
    4 Major 4-6-1 (no symbol usually used)
    5 Major 5-7-2 (no symbol usually used)
    6 minor 6-1-3 m
    7 diminished 7-2-4 mb5

    When we move to the harmonic minor things change. There are now two minor triads, two major triads, one augmented triad and 2 diminished triads. Again, for each of the modes of the harmonic minor, the same number and types of triads will exist.

    Scale tone Chord type Spelling Chord symbol
    1 minor 1-b3-5 m
    2 diminished 2-4-b6 mb5
    b3 Augmented b3-5-7 (#5)
    4 minor 4-b6-1 m
    5 Major 5-7-2 (no symbol usually used)
    b6 Major b6-1-b3 (no symbol usually used)
    7 diminished 7-2-4 mb5

    If we then explore the melodic ascending as a source of chords (the so-called Jazz minor) we get a change in where each chord type occurs but otherwise maintain the same proportions as the harmonic minor
    Scale tone Chord type Spelling Chord symbol
    1 minor 1-b3-5 m
    2 minor 2-4-6 m
    b3 Augmented b3-5-7 (#5)
    4 Major 4-6-1 (no symbol usually used)
    5 Major 5-7-2 (no symbol usually used)
    6 diminished 6-1-b3 mb5
    7 diminished 7-2-4 mb5

    @pumpthrust: love the ii-V-I modulating so that I becomes ii in the following bar - Michael Franks Brazil is my favourite of this progression
    BC: I've been making music since Before Computers were common in music
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