Here’s what we get:Ĭool eh? This is applied music theory-it’s the music theory that puts you and your ideas in the driver’s seat. I’ll throw in that melody on synth and add in some bass, drums, and keys. That said, my personal favourite is the chord progression with F♯m, as it fits the melody that was in my head when I brought together the first three chords. The progression we choose is a personal decision-which do you like the most? We may even decide to keep looking beyond these four, and consider seventh chords, chords outside the key, or something else. That leaves us with four great options to try. Let’s assume that for this song we don’t want to repeat any of our first three chords. Time to get that last chord! Since we now know the chords in our key, we can start trying out some options. G A Bm C♯° D Em F♯m Getting the last chord Alright, here’s what we get if we pull out all seven chords:Īltogether, here are the chords in our key: A chord with the notes G B D is major because G to B is 2 steps and B to D is 1.5 steps minor has the opposite relationship (e.g., the B D and F♯ in our Bm chord) diminished has 1.5 steps between each pair of adjacent notes (e.g., C♯ E G). To determine if the chord we made is major, minor, or diminished, you look at the intervals between each note. We can do this for every chord in the key. That’s G, B, D-or G major-which is exactly what we’d expect. We start counting at G… two notes up is B… and then two more is D. Let’s see how that looks with the G chord. Count up two more notes to “5” (wrap around to the beginning if you run out of notes).The three basic chord types-major, minor, diminished-have a simple “1–3–5” relationship, which works like this: What we’re going to do next is look at all the chords we can make with these notes. This scale has a name (it’s a mode called G Lydian), but again, this stuff doesn’t really matter for what we’re doing. Now we’ll combine all those notes, remove any repeated ones, and put them in order: Here are the notes that make up each of our chords: ![]() ![]() We’re going to pull the notes out of each chord in our progression (remember, that was G major, B minor and A major) and then see what other chords we can build with them. ![]() All you need to know is that a key is a set of (usually 7) notes that sound good together. There are all sorts of keys (major, minor, etc.), but you don’t really need to know that stuff for now. Here’s what that sounds like (repeated twice, with a blank space where our new chord will go):Ĭhords tend to sound good together if they’re all in the same key. For this article, we’ll pick a few chords as an example, but you’ll be able to follow along with lots of other progressions too. Maybe these fit a melody you’re singing, something your bandmate is playing, or maybe you just like the sound of them as they are. We’re going to assume you’ve started writing a progression, and have two or three chords together.
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