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  #1  
Old 01-21-2010, 08:55 PM
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Can someone give me a progressions 101?

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I've began getting into the heavier side of music theory and I've been wondering about progressions.

I know close to nothing about progressions and so I was wondering if a nice TBer could give me a rundown or recommend me a pain-free way to acquaint myself with them.
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  #2  
Old 01-21-2010, 09:39 PM
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Originally Posted by Fassa Albrecht View Post
I've began getting into the heavier side of music theory and I've been wondering about progressions.

I know close to nothing about progressions and so I was wondering if a nice TBer could give me a rundown or recommend me a pain-free way to acquaint myself with them.
There are many very good ways. A simple way would be seach the web for chord progressions.
Athough, you might run into mostly Jazz, this may not be what you want because it can get realy painfull.

I myself am not much of a fan of jazz, however I like to 'think in Jazz' when analysing chords.
About 10 years ago I found something called 'A jazz improvisation primer', very easy approach.

Last edited by Ray man : 01-21-2010 at 09:42 PM.
  #3  
Old 01-21-2010, 09:45 PM
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Think of it this way. Chord progressions - Move the song through the verse structure. A verse brings up a thought, discusses it, reaches a conclusion and brings this thought to and end. Time for the second verse where a new thought is brought forward discussed - a conclusion is reached and the thought is then brought to a close. Time for the chorus. Same thing or it can be a little different. Let's say the same format is used in both the verses and the chorus.

This song is in the key of C. C has these chords:
C, Dm, Em F, G, Am, Bdim, C octave. To identify the chords we give them Roman Numeral names.
I,,, ii,,, iii,, IV, V, vi, viidim, I
C, Dm, Em, F, G, Am, Bdim, C

Notice the upper case are Major chords and the lower case are minor chords. Three major, three minor and one diminished chord in every key.

All chords within a specific key will sound OK with every other chord in that same key. But, the chords within a key do like to go to certain other chords and in doing so they move the progression through the verse structure.

Verse starts lets say with the tonic I chord (it does not have to start with the I chord let's just say it does for our example). Then moves to the discussion part of the verse using the IV chord. The verse now reaches a climax with the V or V7 chord. Since we have reached climax if we keep messing around it gets anti-climatic so we should now end this thought or verse - by returning to the tonic I chord. I IV V7 I

Let's say we have a four line verse First two lines start and finish one complete I IV V I progression and this same progression is used in the last two lines of the verse. So we have two complete progressions in each four line verse.

Understand it does not have to be this way. This is just a generic example.

Well that's only three chords what do all seven like to do?

The I or tonic chord can go anywhere within the progression it wants to go, however, when you go to the I chord you have resolved any tension you have built - are you ready to resolve, if not don't go to the I chord just yet.

The ii chord is called a Sub-dominant chord it's task in life is to move to a dominant chord. The IV chord is also a Sub-dominant chord so it too wants to move to a dominant chord. Both the ii and the IV can substitute for each other.

The iii chord is called the minor mediant chord. It likes to lead to the vi chord.

The IV as mentioned above is a sub-dominant chord and wants to move to a dominant chord.

The V is the dominant chord and it's task in life is to move to the tonic chord (I) as quickly as possible. The viidim chord is also a dominant chord and it's task in life is to also move to the I tonic chord, however, the viidim chord is not only a dominant chord it is also the minor leading tone diminished chord and it also likes to lead somewhere and take a more leisurely trip to the tonic I chord. So if you want to reach resolution quickly use the V7 chord, however, if you want to take a more leisurely trip - like in a turn-a-round then use the viidim to the iii then the vi then the ii or IV to the V7 to the I. That is the classic turn-a-round, i.e. viidim-iii-vi-ii-V7-I.

The vi is the relative minor chord. It likes to move to a sub-dominant chord (ii or IV).

The viidim was discussed above.

So you start your verse with a I chord what is the quickest way back to the I chord? Through the V7. Yep, and a I-V7-I is a good progression to use when you get lost and need to kill some time till you figure out where the rest of the band is.

What about a I IV V I progression? Used all the time.
What about a ii V7 I progression? Used all the time in jazz.
What about a I vi IV V I progression? Well the vi likes to go to a sub-dominant chord so yes this works great. In fact it's called the ice cream progression as it is/was used in early sock rock music all the time.

If you let the chords move where they like to move good things happen. Remember I said you do not have to start a verse with the I chord - well you should end each verse with the I chord. Why? By moving to the I chord you resolve all tension and the verse (phrase) is back at rest. If you did not end with the I chord its like a run on sentence. Think of the I chord at the end of the verse as the period.

More info at www.musictheory.net -- Lessons then go to Common Chord Progressions.

Make yourself a cheat sheet and keep this handy, it only takes a little while till this is embedded in your memory.

Have fun.

Last edited by MalcolmAmos : 01-22-2010 at 08:16 AM.
  #4  
Old 01-21-2010, 09:59 PM
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Originally Posted by MalcolmAmos View Post
Think of it this way. Chord progressions - Move the song through the verse structure. A verse brings up a thought, discusses it, reaches a conclusion and brings this thought to and end. Time for the second verse where a new thought is brought forward discussed - a conclusion is reached and the thought is then brought to a close. Time for the chorus. Same thing or it can be a little different. Let's say the same format is used in both the verses and the chorus.

This song is in the key of C. C has these chords:
C, Dm, Em F, G, Am, Bdim, C octave. To identify the chords we give them Roman Numeral names.
I,,, ii,,, iii,, IV, V, vi, viidim, I
C, Dm, Em, F, G, Am, Bdim, C

Notice the upper case are Major chords and the lower case are minor chords. Three major, three minor and one diminished chord in every key.

All chords within a specific key will sound OK with every other chord in that same key. But, the chords within a key do like to go to certain other chords and in doing so they move the progression through the verse structure.

Verse starts lets say with the tonic I chord (it does not have to start with the I chord let's just say it does for our example). Then moves to the discussion part of the verse using the IV chord. The verse now reaches a climax with the V or V7 chord. Since we have reached climax if we keep messing around it gets anti-climatic so we should now end this verse - by returning to the tonic I chord. I IV V7 I

Let's say we have a four line verse First two lines start and finish one complete I IV V I progression and this same progression is used in the last two lines of the verse. So we have two complete progressions in each four line verse.

Understand it does not have to be this way. This is just a generic example.

Well that's only three chords what do all seven like to do?

The I or tonic chord can go anywhere within the progression it wants to go, however, when you go to the I chord you have resolved any tension you have built - are you ready to resolve, if not don't go to the I chord just yet.

The ii chord is called a Sub-dominant chord it's task in life is to move to a dominant chord. The IV chord is also a Sub-dominant chord so it too wants to move to a dominant chord. Both the ii and the IV can substitute for each other.

The iii chord is called the minor mediant chord. It likes to lead to the vi chord.

The IV as mentioned above is a sub-dominant chord and wants to move to a dominant chord.

The V is the dominant chord and it's task in life is to move to the tonic chord (I) as quickly as possible. The viidim chord is also a dominant chord and it's task in life is to also move to the I tonic chord, however, the viidim chord is not only a dominant chord it is also the minor leading tone diminished chord and it also likes to lead somewhere and take a more leisurely trip to the tonic I chord. So if you want to reach resolution quickly use the V7 chord, however, if you want to take a more leisurely trip - like in a turn-a-round then use the viidim to the iii then the vi then the ii or IV to the V7 to the I. That is the classic turn-a-round, i.e. viidim-iii-vi-ii-V7-I.

The vi is the relative minor chord. It likes to move to a sub-dominant chord (ii or IV).

The viidim was discussed above.

So you start your verse with a I chord what is the quickest way back to the I chord? Through the V7. Yep, and a I-V7-I is a good progression to use when you get lost and need to kill some time till you figure out where the rest of the band is.

What about a I IV V I progression? Used all the time.
What about a ii V7 I progression? Used all the time in jazz.
What about a I vi IV V I progression? Well the vi likes to go to a sub-dominant chord so yes this works great. In fact it's called the ice cream progression as it is/was used in early sock rock music all the time.

If you let the chords move where they like to move good things happen.

More info at www.musictheory.net -- Lessons then go to Common Chord Progressions.

Have fun.
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  #5  
Old 01-21-2010, 10:52 PM
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Go learn modes first.
  #6  
Old 01-22-2010, 02:58 AM
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http://en.wikipedia.org/wiki/Cadence_(music)

Take note of the box at the bottom of the article, where a number of standard progressions is mentioned. Learn to recognize those by ear.

Good luck.
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  #7  
Old 01-22-2010, 03:03 AM
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great thread ; )
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  #8  
Old 01-22-2010, 04:44 AM
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Go learn modes first.
No -- Go learn chords and chord tones first. Worry about modes later.
  #9  
Old 01-22-2010, 08:15 AM
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No -- Go learn chords and chord tones first. Worry about modes later.
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  #10  
Old 01-22-2010, 08:51 AM
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Originally Posted by Chris K View Post
http://en.wikipedia.org/wiki/Cadence_(music)

Take note of the box at the bottom of the article, where a number of standard progressions is mentioned. Learn to recognize those by ear.

Good luck.
http://en.wikipedia.org/wiki/Cadence_(music)

Link with the close-parenthesis included to make it work.
  #11  
Old 01-22-2010, 10:00 AM
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Somewhat on topic...

A guitarist I used to jam with had a small business card given to him by a music professor with all the common chord substitutions on it (apparently this was a gift for completing his course)...It strikes me as painfully useful now that I understand more about harmony, anyone know where I can find such thing?... even just a list on the net would be great.
  #12  
Old 01-22-2010, 10:13 AM
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Stupid question, but: how can you know next to nothing about chord progressions? After all, you play bass in a band or two, right? Shouldn't it be your job to make the chord progressions in your songs clear to the listener using the notes you play?
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Old 01-22-2010, 10:14 AM
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Originally Posted by DudeistMonk View Post
Somewhat on topic...

A guitarist I used to jam with had a small business card given to him by a music professor with all the common chord substitutions on it (apparently this was a gift for completing his course)...It strikes me as painfully useful now that I understand more about harmony, anyone know where I can find such thing?... even just a list on the net would be great.
Try
http://www.melbay.com/samples.asp?Pr...q=&r=&s=&next=

Last edited by Chupacabra : 01-22-2010 at 10:30 AM. Reason: removed crap links, found a better one :D
  #14  
Old 01-25-2010, 12:59 PM
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The best summary possible of the 100 or so pages of theory I've been saving. Wish I'd found this 2 months ago.

Thank you!
  #15  
Old 01-25-2010, 01:33 PM
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Quote:
Originally Posted by Fassa Albrecht View Post
I've began getting into the heavier side of music theory and I've been wondering about progressions.

I know close to nothing about progressions and so I was wondering if a nice TBer could give me a rundown or recommend me a pain-free way to acquaint myself with them.
Study the blues, to me that would be progressions 101. Thousands of tunes are based upon the 3 chords of the blues, I, IV, V.
  #16  
Old 01-26-2010, 05:42 AM
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Quote:
Originally Posted by Fassa Albrecht View Post
I've began getting into the heavier side of music theory and I've been wondering about progressions. I know close to nothing about progressions and so I was wondering if a nice TBer could give me a rundown or recommend me a pain-free way to acquaint myself with them.
If you are still checking the string - the rest of the story.

True, we need our chord progression to move the verse along, but, there is one other important function the chord progression preforms. Harmony for the melody line.

This is based upon -- The melody line and the chords (bass line) should share some of the same notes. Why do we change chords in a tune? When the melody line has moved on to new melody notes no longer found in the old chord we fall out of harmony and it then is necessary that we do something to restore harmony.

That can be done several ways; 1) add a harmonizing note (one of the new melody notes) to the old chord, as an extension, or 2) find a new chord that does have some of the new melody notes in it's makeup.

It's a balancing act as we do not want to destroy the chord movement (the chord progression) we've already laid down.

Google - Harmonizing the melody line - will bring up several papers on this subject.
http://www.google.com/search?sourcei...he+melody+line

Have fun.

Last edited by MalcolmAmos : 01-26-2010 at 08:41 AM.
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