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Hello and welcome today. 
We will be looking at some tips 

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that you can use to create chord
progressions and start making 

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your next song. 
I also did a little bit of that 

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as you will hear throughout the 
examples for this episode. 

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Those are the result of 
mirroring technique diatonic and

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chromatic voice leading all put 
together using common chord 

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progressions and changing them a
little bit. 

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It's not more of the same. 
Let's have a look for my first 

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tip. 
You can make use of common chord

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progressions. 
There are some very common chord

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progressions or chord movements 
out there that you can listen to

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in many songs. 
You have the 251 the 451 or the 

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6451. 
If you don't know what I'm 

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talking about this numbers refer
to each degree of the scale upon

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which the chords are built in 
the c major scale C is the first

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degree D is the second and so on
each tonality has a set of 

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chords that are a result of 
superimposing the notes of that 

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scale on top of each degree. 
If you have doubts about how 

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this is done check out the 
appropriate links in the 

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description about scales 
harmonization in intervals and 

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then come back and now back to 
the typical chord progressions. 

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I should mind you that in a 
broader sense any Court can 

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succeed to any other chords. 
And with that said you don't 

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have to feel obliged to use 
those chord progressions in the 

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order. 
I mentioned instead of 251 chord

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progression you can The order of
the chords A News 5 to 1 and 

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then create a contrasting 
section with a 641 instead of a 

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6451 like this. 
Experiment with it and find the 

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proper fit for what you are 
looking for. 

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Those chord progressions will 
not let you down. 

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But sometimes you are looking 
for something else something 

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that helps your chord. 
And pop at this point I should 

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tell you that you should develop
the ability to at least predict 

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if the cord you are hearing next
is minor or major. 

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This alone will take care of 
some of the heavy lifting 

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regarding core choices, but 
there are other fun ways that 

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will help you to create chord 
progressions, which brings us to

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tip number 2, you can use those 
typical chord progressions as 

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templates and then go from 
there. 

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One of such ways is to use voice
leading this consists in making 

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sure that the notes from one 
chord move to the next court 

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diatonically a step or a half 
step within the These of that 

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scale or chromatically moving in
half steps with notes that are 

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outside of that scale whenever 
possible. 

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You should also aim to maintain 
common tones. 

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This ensures that your cords 
progress from one to another in 

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a smooth way in some try to move
the last possible. 

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Now, what you need is a 
departing and an arrival cord in

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the middle, you will try to fill
in with another chord using the 

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voice leading approach in the 
Following example the departing 

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end arrival Court are the desus 
to 7 and the g at 9:00 the 2 and

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the 5 of C major you can explore
this by using different 

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departing and arrival chords 
from the same scale and you can 

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do it diatonically and 
chromatically here's how you can

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do it. 
Remember that any Court can 

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succeed to any other cords that 
said you could reorganize all 

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the cord material. 
I presented and create your own 

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chord progression in a 
completely different order. 

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Other than what you heard the 
idea is to produce material that

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you can experiment with and use 
or not later on. 

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You can always adjust the chord 
voicings for a better voice 

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leading here is another example 
of a chord progression produced 

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with voice leading movements 
both chromatic and diatonic. 

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For the final tip of this 
episode you can use a technique 

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called mirroring as the name 
implies it consists in mirroring

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the interval. 
Ship between the notes of a 

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given chord. 
Usually you do the mirroring 

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based on the extremes of the 
Court using those cartoons as 

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pivot pitches, but you can apply
this technique starting on any 

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court on you like starting on 
the root. 

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The chord tones interval 
relationships are reflected down

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and if you start from the top 
court on the interval 

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relationships of the pitches are
reflected in the upward 

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Direction, you can also do it 
diatonically by preserving. 

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Serving the number of the 
interval based on the scale you 

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are using or chromatically by 
preserving the quality of the 

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interval. 
Remember that you can apply the 

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inverted relationship starting 
on any court on you like here is

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a result of the application of 
those techniques in context. 

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All these chords are the result 
of diatonic and chromatic 

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mirroring of a desus to seven 
chord formation. 

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And now over to you take these 
tips develop these ideas and go 

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make some music in case you had 
any trouble following along make

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a pause check out the links in 
the description and then come 

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back. 
It's all for now, and I'll see 

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you on the next episode. and 
happy composing