Sus, Dim, Aug, 6th and 7ths...

JehfreeBeats

New member
I wanted to spice up my chord progressions . I am tired of using them same old' major/minor and sometimes diminished chord progressions.

My music professor told me I should try and incorporate Sus, Aug, Dim, 6th, and 7th chords to get that jazzy/soul/gospel sound I hear in a lot of these samples.


I also find that using Maj/Min 7ths, 9ths, 11ths etc and they help to give a richer sound . But the others I'm
Having a hard time incorporating into my progressions.


Can someone give me tips on using Sus , Dim, Aug, 6ths and 7ths in my progressions and examples.


Thanks
 
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Use sus on dominant chords (i.e. chords functioning as chord V in the progression).

Think of a 6th as an inverted m[sup]7[/sup] - C[sup]6[/sup] is the same as Am[sup]7[/sup], so they are an elliptical substitution for each other C[sup]6[/sup]~CEGA; Am[sup]7[/sup]~ACEG

7ths are simply extensions to the chords that add some colour - like painting a room choose carefully as not all colours work together.....

Aug are usually used with dominant function chords and also as passing tones in a progression to chord IV from chord I like so

I-I[sup](#5)[/sup]-I[sup]6[/sup]-I[sup]b7[/sup]-IV-[sup]b[/sup]VI-etc

Dim chords substitute for chord V in a lot situations or for another chord that might be being used in a dominant function in the progression

Dim[sup]7[/sup] is used as a substitute for chord I[sup]b7[/sup] ([sup]#[/sup]i[sup]b5bb7[/sup]) or chord V[sup]7[/sup] ([sup]#[/sup]v[sup]b5bb7[/sup]) or any other chord acting as a dominant 7th in the progression.....
 
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You may also wanna look into secondary dominants and secondary leading tones for some extra chord progression juice.
 
Secondary dominants and secondary leading tones, together known as SECONDARY FUNCTIONS, are chords that do not belong to the diatonic scale being used at the moment. For example, in the key of C major, we know the iii chord is E minor, but what if we ended up with an E7? Since E is not a dominant chord in the key of C major, we can deduce that it may be a secondary dominant. Of course, that E7 had to come from another key since it obviously does not belong to C major. To figure out which key the E7 came from, we simply think of our scales----which scale has an E as a fifth? The answer is A which we call our imaginary key. The next step is to figure out the relation between our imaginary key (A major) and our main key (C major). Using our knowledge of scales, we know that A is the 6th degree of the C major scale, thus we would write the chord as V7/vi, signifying that we are using the dominant chord of the A major scale. We use secondary functions like these to spice up our cadences, or in some cases, change key altogether. I can go so much deeper into this, but its above your skill level right now so i'm keeping it simple. Do you understand cadences, and the major and minor chord maps?
 
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Yeah, I've been making beats using my ears, but now i want to dig deep and understand theory. I am taking an intro class, and we are learning the basics of scales, chord, etc. But I understood a lot of what you are saying. The hard part for me, is figuring out like what scale has a A as the 6h degree, or which scale has an E as a fifth. Stuff like that gives me trouble, but with practice im sure it will start clicking.
 
Lemme put you on to some game that will help you remember the scale degrees. Of course, all of this is dependent on how diligent you are in learning the cycle of keys and whathaveyou. In other words, in order for this stuff to stick, you're gonna have to practice it over and over, say it in your head and shit until it becomes instinctual. Here we go.
I'm gonna assume that you've begun learning basic chord construction, as far as triads and 7th chords are concerned.

Lets start with the C major scale. If I were to ask you what was the fifth degree of the C major scale, you would probably count up 5 from the tonic C
1. C
2. D
3. E
4. F
5. G
...and of course you'd be correct. But unfortunately, thinking that way can be crippling when having to recall scale degrees on the fly. Trust me, i'm a 2nd year music major, so that shit happens all the time. Having to count up on your fingers makes you look like you don't know what you're doing, and musicians can be VERY judgmental. Knowing your triads, in addition to having a solid familiarity with your scales is the key---no pun intended---to memorizing scale degrees.
First, In the key of C major, the first chord (using 7ths) is C major 7, or in this case, is C E G B . Each note of the chord is a 3rd apart.
In generic terms, a major 7 chord off the tonic is nothing more than the R, 3, 5, and 7th degree of that scale. So, now we have an easy reference for figuring out what the 3rd, 5th, and 7th degrees of the C major scale are. But, of course, there's more to this. Say you wanted a quick way to find the 6th or the 4th degree of C major. Easy-take the "ii" triad, D minor of the C major key, and we have D F A. In relation to the C major scale, these degrees would be 2, 4, and 6.

C E G B = R 3 5 7
D F A= 2 4 6
The first two chords of the key tells you everything you need to know. The way I memorized it was to say the pattern over and over, transposing all around the cycle of keys until that shit began to sink in. I'm to the point now where I don't even have to think of the pattern anymore, every day I practice over and over all around the cycle---what's the 4th in each key, what's the 6th in each key. I've been at this for nearly four months now. Do this enough times and you'll start seeing patterns that will make the whole cycle of keys really come together for you. For example, a 5th from C is G, a 5th from G is D, a 5th from D is A...and so on. A 4th from C is F, a 4th from F is Bb....you get my drift. The 6th degree of any major scale is its relative minor scale. See how it makes all this shit come together? In the beginning, I suggest you get in the habit of writing it down first for practice, then run the patterns in your head across each key until you just know what each scale degree is by heart in both major AND minor.
 
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This is great. You actually make sense, and I understand fully. Its just one of those things that you have to practice a lot to become fluent with, like speaking a new language, as my professor often refers that learning music is like learning a new language.

But yeah, thanks for this.


On another note, I wanted to see if you can briefly cover something that Bandcoach touched on a couple posts above this.

He mentioned a 7th is used to add color to a chord. I think he is right, because when I add a 7th or a 9th to a Maj/Min chord, it does give it more color.

But what I was referring to is a general 7th. Like a C7 chord, as opposed to a Cmaj7/Cmin7 chord. Like whats the difference?

A C7 (or any 7 chord) always sounds weird to me. My professor says they are used primarily to turnaround the progression and bring it back to the tonic, which makes sense since its called a leading tone. But I just wanted to know of you could provide a little more incite on the 7th chord if you can.
Thanks again
 
This is great. You actually make sense, and I understand fully. Its just one of those things that you have to practice a lot to become fluent with, like speaking a new language, as my professor often refers that learning music is like learning a new language.

But yeah, thanks for this.


On another note, I wanted to see if you can briefly cover something that Bandcoach touched on a couple posts above this.

He mentioned a 7th is used to add color to a chord. I think he is right, because when I add a 7th or a 9th to a Maj/Min chord, it does give it more color.

But what I was referring to is a general 7th. Like a C7 chord, as opposed to a Cmaj7/Cmin7 chord. Like whats the difference?

A C7 (or any 7 chord) always sounds weird to me. My professor says they are used primarily to turnaround the progression and bring it back to the tonic, which makes sense since its called a leading tone. But I just wanted to know of you could provide a little more incite on the 7th chord if you can.
Thanks again
I'm by no means an expert, but i'll tell you what I know....hopefully Bandcoach can provide some further clarification to help you(us) out.
Whenever you see a chord marked, for example, C7, you know its a dominant chord. Whenever you hear someone refer to something as dominant in music, think 5, or the fifth degree of the major scale. What makes dominant chords so important is that they are used to pull you back to the tonic, providing resolution. A dominant chord is your major triad with a flat 7 on top(the 7 degree one whole step below the root).
 
The differences between 7ths

ChordNotesKeyFunction
Maj[sup]7[/sup]C-E-G-B C/GI[sup]7[/sup]/IV[sup]7[/sup]
Dom[sup]7[/sup]C-E-G-B[sup]b[/sup]FV[sup]7[/sup]
Min[sup]7[/sup]C-E[sup]b[/sup]-G-B[sup]b[/sup]Bb/Eb/Abii[sup]7[/sup]/vi[sup]7[/sup]/iii[sup]7[/sup]
min-maj[sup]7[/sup]C-E[sup]b[/sup]-G-BC harmonic minori[sup]7[/sup]
min[sup]7b5[/sup]C-E[sup]b[/sup]-G[sup]b[/sup]-B[sup]b[/sup]Dbvii[sup]7b5[/sup]
dim[sup]7[/sup]C-E[sup]b[/sup]-G[sup]b[/sup]-B[sup]bb[/sup]Db harmonic minorvii[sup]o7[/sup]

[mp3]http://www.bandcoach.org/fp/audio/secDomsAgain-01.mp3[/mp3]

secDomsAgain-01.png


Secondary dominants are dominant 7th chords built on the secondary of any key. Which brings us to primary triads/chords:

Primary triads in any key are chords I, IV and V in the major and i, iv and v/V in the minor. these are our primary triads because between them we get all of the notes of the scale

ChordNotesExample in C major
I1-3-5C-E-G
IV4-6-1F-A-C
V5-7-2G-B-D
ChordNotesExample in C Harmonic minor
i1-[sup]b[/sup]3-5C-E[sup]b[/sup]-G
iv4-[sup]b[/sup]6-1F-A[sup]b[/sup]-C
v5-[sup]b[/sup]7-2G-B[sup]b[/sup]-D
V5-7-2G-B-D

Our secondary chords are ii, iii and vi. Chord vii[sup]b5[/sup] is treated as a tertiary chord although it should be considered as a substitute for chord V in most cases.

ChordNotesExample in C major
ii2-4-6D-F-A
iii3-5-7E-G-B
vi6-1-3A-C-E
ChordNotesExample in C Harmonic minor
ii[sup]b5[/sup]2-4-[sup]b[/sup]6D-F-A[sup]b[/sup]
[sup]b[/sup]III[sup]#5[/sup][sup]b[/sup]3-5-7E[sup]b[/sup]-G-B
[sup]b[/sup]VI[sup]b[/sup]6-1-[sup]b[/sup]3A[sup]b[/sup]-C-E[sup]b[/sup]

[mp3]http://www.bandcoach.org/fp/audio/secDomsAgain-02.mp3[/mp3]

secDomsAgain-02.png


Building secondary dominants simply means raising the 3rd and adding a minor 7th above the root of each chord.:

ChordNotesExample in C major
II[sup]7[/sup]2-[sup]#[/sup]4-6-1D-F[sup]#[/sup]-A-C
III[sup]7[/sup]3-[sup]#[/sup]5-7-2E-G[sup]#[/sup]-B-D
VI[sup]7[/sup]6-[sup]#[/sup]1-3-5A-C[sup]#[/sup]-E-G
ChordNotesExample in C Harmonic minor
II[sup]7b5[/sup]2-[sup]#[/sup]4-[sup]b[/sup]6D-F[sup]#[/sup]-A[sup]b[/sup]-C
[sup]b[/sup]III[sup]7#5[/sup][sup]b[/sup]3-5-7-[sup]b[/sup]2E[sup]b[/sup]-G-B-D[sup]b[/sup]
[sup]b[/sup]VI[sup]7[/sup][sup]b[/sup]6-1-[sup]b[/sup]3-[sup]b[/sup]5A[sup]b[/sup]-C-E[sup]b[/sup]-G[sup]b[/sup]
-1

[mp3]http://www.bandcoach.org/fp/audio/secDomsAgain-03.mp3[/mp3]

secDomsAgain-03.png


The second part of using secondary dominant is that they are meant to be used as chord V of some other chord in the key. Raising the third of each of our secondary chords creates a new secondary leading tone which must resolve upwards by a semitone, the minor 7th generally resolves inwards by semitone as well. So where we see G[sup]7[/sup] resolve to C major (V[sup]7[/sup]-I) in the key of C major like so (1st example below), we would then see D[sup]7[/sup] resolve to G (V[sup]7[/sup]/V-V) like so (second example below). We could then combine the two to give a final cadence like so (3rd example below):

[mp3]http://www.bandcoach.org/fp/audio/secDomsAgain-04.mp3[/mp3]

secDomsAgain-04.png
 
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BIG TIP ****** After spending years analysing chords and progressions etc, and getting wrapped up on trying to find magic formulas for writing amazing music, I finally realised that the best way is to LISTEN to what you're playing, try things out - DONT WAIT FOR A MAGIC SONG WRITING FORMULA.

I listen back to my music, and the best stuff I recorded was when I said "TO HELL WITH THE THEORY" - of course, you MUST understand the Theory to work out what scales and stuff you will have to play over your chord progressions.

I used to write everything in key, diatonically, and by the laws of music....it got really boaring.

A cool progression I cam up with the other day

Em-Em-D-A repeat, G-C-F#-B I didn't think of theory when I wrote it (for guitar, played as Bar Chords) and therefore is sounds unique, not like the overused i-iv-v progression !!! even if you didnt now any theory, you can mess around with maj/min pentatonic scales to find the one that best fits over each section.....

Theory is fab, but you may end up a mathematical musician....let yourself go! Play by ear, using Theory to help work out what scales to use!!!
 
BIG TIP ****** After spending years analysing chords and progressions etc, and getting wrapped up on trying to find magic formulas for writing amazing music, I finally realised that the best way is to LISTEN to what you're playing, try things out - DONT WAIT FOR A MAGIC SONG WRITING FORMULA.

I listen back to my music, and the best stuff I recorded was when I said "TO HELL WITH THE THEORY" - of course, you MUST understand the Theory to work out what scales and stuff you will have to play over your chord progressions.

I used to write everything in key, diatonically, and by the laws of music....it got really boaring.

A cool progression I cam up with the other day

Em-Em-D-A repeat, G-C-F#-B I didn't think of theory when I wrote it (for guitar, played as Bar Chords) and therefore is sounds unique, not like the overused i-iv-v progression !!! even if you didnt now any theory, you can mess around with maj/min pentatonic scales to find the one that best fits over each section.....

Theory is fab, but you may end up a mathematical musician....let yourself go! Play by ear, using Theory to help work out what scales to use!!!
That is the whole point, to know it where its all execution and you don't have to pause to think about it anymore.
Too many people think that you have to be consciously using theory for every aspect of composing---you don't. Theory shouldn't dictate how you necessarily write music, but it should help you to understand what it is you did, and communicate it to other musicians effectively. All of my melodies start with my imagination first, I only use my theory knowledge to express it through my instrument.
Furthermore, music theory isn't a set of hard rules or laws, as you put it. Unless you're in college, or learning/studying a particular style of music, you are obviously free to do whatever you choose, your brain, ears and imagination are your most valuable tools. In fact, most music scholars will even tell you that without hesitation.
 
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Dim[sup]7[/sup] is used as a substitute for chord I[sup]b7[/sup] ([sup]#[/sup]i[sup]b5bb7[/sup]) or chord V[sup]7[/sup] ([sup]#[/sup]v[sup]b5bb7[/sup]) or any other chord acting as a dominant 7th in the progression.....

So I looked at this today and realised that it may not have communicated the concept all that well.

I'll break it up a bit and show what I mean by the above sentence:
ChordTonesEx. In CDim7 substitutionTonesEx. In C
I[sup]b7[/sup]1-3-5-b7C-E-G-Bb[sup]#[/sup]i[sup]b5bb7[/sup][sup]#[/sup]1-3-5-[sup]b[/sup]7C[sup]#[/sup]-E-G-B[sup]b[/sup]
V[sup]7[/sup]5-7-2-4G-B-D-F[sup]#[/sup]v[sup]b5bb7[/sup][sup]#[/sup]5-7-2-4G[sup]#[/sup]-B-D-F
 
It all depends what you really want...and the style of music...

Get your teacher to show you how to do some modulations with just minor and major chords.. modal interchange .. it is fun ... and inspiring!

so many greta tunes have standard chords!

IF you go for a more jazzy taste then you need all the leading tone chords and secondary dominants and altered dominants.

Also play in melodic minor modes..it is really elegant and cool. Just reflect the chord and avoid ugly notes ! .. your ear will tell you !

cheers..
 
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