alternatives to the usual 1. 4 .5. progression

[scooter]

I know the usual -A -D -E 1, 4, 5, progs

 

but what are some useful alternatives to this standard

 

like if i was to do a -1 -2 -5 e.g .A .B .E is sounds wrong

 

what works?

 

{b.t.w it doesn't have to be in A, any key interests me }

[thamiam]

Another real popular one is I-VI-ii-V.

You might recognize it as "Heart and Soul"

[Cassius]

You could always analyse a few popular rock tunes and find out.

Its surprising to find out how many are drawn from basic chord progressions

[rackman311]

Originally posted by Cassius You could always analyse a few popular rock tunes and find out. Its surprising to find out how many are drawn from basic chord progressions

yes sir

[Russ T Nail]

Originally posted by scooter if i was to do a -1 -2 -5 e.g .A .B .E is sounds wrong

 

 

scoot,

 

the chord based on the II note in the scale of A Maj is Bm not B, (don't forget the II, III and VI chords are all minors and the VII is a min7b5 ) The rest are Majors but as I am sure you are aware can be replaced with dominants.

 

Thus in the key of G the 'chord scale' would be:

 

I. G Maj

II. A min

III. B min

IV. C Maj

V. D Maj

VI. E min

VII. F# minb5

 

Then obviously the octave

 

Hope this helps

 

Russ T

[The Master]

Originally posted by Russ T Nail The rest are Majors but as I am sure you are aware can be replaced with dominants.

Actually, only the V chord can be replaced with a dominant. When you add the 7th to that chord it becomes dominant 7th, because the V level uses mixolydian scale. The others become major 7th chords when you add the 7th.

Unless of course you break the rules.

And you can just call the VII chord F# diminished...same thing...

[Russ T Nail]

TM,

My statement, (blase as it was ), was based largely in a blues context as scooter had mentioned the I-IV-V progression which I had automatically (and probably wrongly) taken to mean the good ol' 12 bar.

Hope this clarifies.....yes I know it is a feeble excuse but it is the best I can come up with

:D

Russ T

[TubeAddict]

Originally posted by The Master And you can just call the VII chord F# diminished...same thing...

 

 

half diminished

 

the diminished chord has a double flatted 7th

[The Master]

Originally posted by Russ T Nail My statement, (blase as it was ), was based largely in a blues context as scooter had mentioned the I-IV-V progression which I had automatically (and probably wrongly) taken to mean the good ol' 12 bar.

Haha, yeah, I figured that's what you were talking about. But I'm a perfectionist bastard.

Originally posted by TubeAddict half diminished the diminished chord has a double flatted 7th

True. You got me there.

[scooter]

Ack!..... less theory please

not to be ungrateful
thanks for the info but i don't really GET theory very well
i need more practical stuff if poss

[Russ T Nail]

scooter,

refer back to my first post. Put simply all you need to do is take the notes in any Major scale and the chords that are built on them are always the same in a given position.

So the I, IV and V chords will always be major, the II, III and VI chords will always be minor and the VII is always a min7b5 (or half diminished)

Now take the 'bag of chords' from my first post, mix them up and use tem in any sequence. Forget the theory try various permutations and see how they turn out.

I would add the caveat that the above are guidelines not rules as such. Try everything on a 'suck it and see basis'.

Hope this helps

Russ T

[Smokey]

Hmmm...good info Russ & the gang. I've never really thought about chords building that way, kinda just did it by sound.