Members Acquiescence Posted May 9, 2009 Members Posted May 9, 2009 i noticed that most songs follow a certain pattern to their chord progressions... http://lessons.mikedodge.com/lessons/MusicTheory/Diatonic/WhatKey.htm"I - C majorii - D minoriii - E minorIV - F majorV - G majorvi - A minorvii
Members mosiddiqi Posted May 9, 2009 Members Posted May 9, 2009 I think the answer is whatever sounds good to you...honestly. If you listen to The Beatles for example, loads of their songs have chords that are not in the key of the song...but they sound great. It's all in how it fits with the vocal melody, the harmonies and the bass notes. Just experiment.. One example is the song "if i fell"...the intro chords are: Ebm/Dmaj/C#Maj/Bbm/Ebm/DMaj/Emin/A7...how this works with the vocal line is just brilliant imo..check it out.
Members Virgman Posted May 9, 2009 Members Posted May 9, 2009 but sometimes chords that arent part of that are used... like for example if thats the key of C the D7 chord is used or what is going on in that case?basically what i want to know is how do you know which chords can use in a chord progression? Chords that share two or more notes can generally be substituted for each other. Dm = D-F-A Dm7 = D-F-A-C D7 = D-F#-A-C 2 or 3 notes shared. Do some research about chord substitution. It's a great topic.
Members bigboy_78 Posted May 10, 2009 Members Posted May 10, 2009 One example is the song "if i fell"...the intro chords are:Ebm/Dmaj/C#Maj/Bbm/Ebm/DMaj/Emin/A7...how this works with the vocal line is just brilliant imo..check it out. Woo-hooo! Some of this {censored} is finally sinkning into my head. I can see the ii-V-I in that progression, 6 months ago it would've looked like random chords.
Members jonfinn Posted May 11, 2009 Members Posted May 11, 2009 but sometimes chords that arent part of that are used... like for example if thats the key of C the D7 chord is used or what is going on in that case?basically what i want to know is how do you know which chords can use in a chord progression? D7 in the key of C would often be followed by G7 (not always, but often). If that's the case it's considered V7/V (known as "secondary dominant"). If G7 is the "dominant" in the key of C, then D7 is the "dominant of the dominant" But other posters are exactly right. When writing, I tend to put all the theory knowledge aside and just write based on "hey this sounds cool." What I've learned is that if I like the way something sounds, there's probably a nerdy "theory rule" that describes WHY it works. But that knowledge tends to get in the way when I'm in the creative process. So I put it aside and just write. Make sense?
Members Bedlum Bednarik Posted May 11, 2009 Members Posted May 11, 2009 D7 in the key of C would often be followed by G7 (not always, but often). If that's the case it's considered V7/V (known as "secondary dominant"). If G7 is the "dominant" in the key of C, then D7 is the "dominant of the dominant" Cool, never thought of looking at it from the substituted chords relation to all the other chords in the root scale.I mean, its all relative, but I would be toiling over the F# (D's M3) in relation to C when It would just be easier to look at the D7 and how it would be best related to the chords in CMaj scale, if that make any sense.
Members sumpm1 Posted May 13, 2009 Members Posted May 13, 2009 Even if you don't "master" the use of all of the different chord types, I often explain to people that the difference between man chord sis just one fretted note that is in the key. So you can add any notes that are in the key to your chords, and who cares what it is called.
Members Acquiescence Posted May 13, 2009 Author Members Posted May 13, 2009 does it have something to do with this http://en.wikipedia.org/wiki/Borrowed_chord In popular music, the Major Triad on the Lowered Third Scale Degree (?III), the Major Triad on the Lowered Sixth Scale Degree(?VI) and the Major Triad on the lowered Seventh Scale Degree, or "Flat Seven" (?VII, in C major: B?, D, F) are common.
Moderators Jed Posted May 13, 2009 Moderators Posted May 13, 2009 does it have something to do with thishttp://en.wikipedia.org/wiki/Borrowed_chordIn popular music, the Major Triad on the Lowered Third Scale Degree (?III), the Major Triad on the Lowered Sixth Scale Degree(?VI) and the Major Triad on the lowered Seventh Scale Degree, or "Flat Seven" (?VII, in C major: B?, D, F) are common. It's a similar concept, but "Secondary Dominants" are so often used that they warrant their own classification. Long story short to find the "secondary dominant" of any chord - build a dominant chord on the 5th of the target chord. So for Cmin7 (C Eb G Bb), the secondary dominant would be G7. For Gmin7 (G Bb D F) the secondary dominant would be D7. Etc, etc . . . cheers,
Members Acquiescence Posted May 14, 2009 Author Members Posted May 14, 2009 It's a similar concept, but "Secondary Dominants" are so often used that they warrant their own classification. Long story short to find the "secondary dominant" of any chord - build a dominant chord on the 5th of the target chord. So for Cmin7 (C Eb G Bb), the secondary dominant would be G7. For Gmin7 (G Bb D F the secondary dominant would be D7. Etc, etc . . . cheers, http://en.wikipedia.org/wiki/Secondary_dominant
Members lollygag Posted May 14, 2009 Members Posted May 14, 2009 When pieces start to change keys, you will have to introduce chords that are not in the home key. But remember that in our modern musical world we can sometimes combine modal playing and keys. I think many will agree that Pink Floyd "breath" is in Em, but it isn't really... that A major chord really gives a dorian feel. in E dorian the chords are as follows(pure minor) i ii-dim III iv v VI-maj VII pure dorian i ii-min III IV v vi-dim VII
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