Hello and welcome today. We will be looking at some tips
that you can use to create chord progressions and start making
your next song. I also did a little bit of that
as you will hear throughout the examples for this episode.
Those are the result of mirroring technique diatonic and
chromatic voice leading all put together using common chord
progressions and changing them a little bit.
It's not more of the same. Let's have a look for my first
tip. You can make use of common chord
progressions. There are some very common chord
progressions or chord movements out there that you can listen to
in many songs. You have the 251 the 451 or the
6451. If you don't know what I'm
talking about this numbers refer to each degree of the scale upon
which the chords are built in the c major scale C is the first
degree D is the second and so on each tonality has a set of
chords that are a result of superimposing the notes of that
scale on top of each degree. If you have doubts about how
this is done check out the appropriate links in the
description about scales harmonization in intervals and
then come back and now back to the typical chord progressions.
I should mind you that in a broader sense any Court can
succeed to any other chords. And with that said you don't
have to feel obliged to use those chord progressions in the
order. I mentioned instead of 251 chord
progression you can The order of the chords A News 5 to 1 and
then create a contrasting section with a 641 instead of a
6451 like this. Experiment with it and find the
proper fit for what you are looking for.
Those chord progressions will not let you down.
But sometimes you are looking for something else something
that helps your chord. And pop at this point I should
tell you that you should develop the ability to at least predict
if the cord you are hearing next is minor or major.
This alone will take care of some of the heavy lifting
regarding core choices, but there are other fun ways that
will help you to create chord progressions, which brings us to
tip number 2, you can use those typical chord progressions as
templates and then go from there.
One of such ways is to use voice leading this consists in making
sure that the notes from one chord move to the next court
diatonically a step or a half step within the These of that
scale or chromatically moving in half steps with notes that are
outside of that scale whenever possible.
You should also aim to maintain common tones.
This ensures that your cords progress from one to another in
a smooth way in some try to move the last possible.
Now, what you need is a departing and an arrival cord in
the middle, you will try to fill in with another chord using the
voice leading approach in the Following example the departing
end arrival Court are the desus to 7 and the g at 9:00 the 2 and
the 5 of C major you can explore this by using different
departing and arrival chords from the same scale and you can
do it diatonically and chromatically here's how you can
do it. Remember that any Court can
succeed to any other cords that said you could reorganize all
the cord material. I presented and create your own
chord progression in a completely different order.
Other than what you heard the idea is to produce material that
you can experiment with and use or not later on.
You can always adjust the chord voicings for a better voice
leading here is another example of a chord progression produced
with voice leading movements both chromatic and diatonic.
For the final tip of this episode you can use a technique
called mirroring as the name implies it consists in mirroring
the interval. Ship between the notes of a
given chord. Usually you do the mirroring
based on the extremes of the Court using those cartoons as
pivot pitches, but you can apply this technique starting on any
court on you like starting on the root.
The chord tones interval relationships are reflected down
and if you start from the top court on the interval
relationships of the pitches are reflected in the upward
Direction, you can also do it diatonically by preserving.
Serving the number of the interval based on the scale you
are using or chromatically by preserving the quality of the
interval. Remember that you can apply the
inverted relationship starting on any court on you like here is
a result of the application of those techniques in context.
All these chords are the result of diatonic and chromatic
mirroring of a desus to seven chord formation.
And now over to you take these tips develop these ideas and go
make some music in case you had any trouble following along make
a pause check out the links in the description and then come
back. It's all for now, and I'll see
you on the next episode. and happy composing