..... The cyclical progressions are good but tend to get boring a bit quickly to my ears.
Let's look at why chords are there in the first place and then see what else we could do.
The chords are there to harmonize the active melody, i.e. if the melody line and the harmony line (chord progression) share some notes - at the same time - harmony happens. Next thing chords provide is movement between I (rest), IV tension, V7, climax and then resolution (I) back to rest. The minor ii, iii, vi and vii provide color and flavor plus each adds movement in their own way. If we let them move where they like to move normally good things happen.
We tend to fixate on the movement and forget about harmonization. going to talk about movement and then I'll get into harmonization.
The I chord can move any where it wants to in the progression as it is the tonal center of the progression. When you move back to the I chord you resolve any tension you have build and have to re-establish tension.
The ii chord is a sub-dominant chord and wants to move to a dominant chord. ii-V-I
The iii chord is the median or middle chord and likes to start a movement somewhere. In doing that it likes to drag the vi with it. Like in a turn-a-round. iii-vi-ii-V7-I.
The IV chord is also a sub-dominant chord and like the ii wants to move to a dominant chord. Because they both like to do the same thing they can sub for each other. IV-V or ii-V.
The V chord is the dominant chord and it likes to move to the tonic I chord. If you make it a V7 chord it wants to more to the tonic I chord RIGHT NOW.
The vi chord adds flavor and likes to move to a sub-dominant chord. vi-ii-V-I
The vii chord is also a dominant chord, however, is in no hurry to move to the tonic chord and is often used as a lead some where chord. vii-iii-vi-ii-V7-I.
A sus chord likes to move to it's parent chord, thus an Asus wants to move to the A chord. See how you could use a sus chord to fill out a measure.
The I-IV-V we understand, however, the minor flavor chords and how they like to move sometime slip between the chairs.
iii and vi always seem to go together.
ii and IV sub for each other.
V and vii sub for each other.
The vi always add something to a major chord progression.
Now on top of that we get into harmony. If you are using a I-IV-V and it's just not sounding right, perhaps you need a harmonizing note. This is where the extension 9, 11 & 13 come into the picture. Keep your movement in play with the basic chord and then capture harmony by adding a harmonizing note to your basic movement chord. Could explain why chords get fancy... Ab7(#11) find out why the #11 is needed?
Another thing to put into your bag of tricks - back cycling. Say you have a three measure void (same chord for three measures) back cycling lets you fill that void. For example; after the void we have a C chord. How could we advance to that C? Well, take a look at your circle of 5ths - G moves to C. And D moves to G, and A moves to D. So help yourself to some back cycling chords and fill that void with the - A-D-G- chords to help you get to the C chord. We should make those chords, majors, minors, dominants, etc. what ever type of chord fits correctly in your progression. Notice if you just look at the basic roots you end up with a run of ii-V-I's.
Most of the above speaks to what a guitarist could do with a chord progression. As a bassists perhaps you can find something in all that to liven up your bass line, and still let it fit the movement and harmony of the song.
The more I typed the more I said to myself. No need in changing the chord progression every one is using, just spice up my bass line.
Have fun.
but its hard to know which ones to use?
