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Through it all chords pdf12/15/2023 ![]() What makes a chord progression sound good? If you’re looking to absorb a bit more theory on the matter, Spread Worship has an excellent primer on scale degrees and chord nomenclature. Now that we understand where chords come from and how we name them, let’s look at how they’re often strung together. We can name these seven chords by using numbers:Īs you may have figured out, naming a progression is as simple as stringing together the numerals representing the chords you’re playing. These chords are known as diatonic chords, and can be thought of as a family of chords belonging to one key.Įach of these chords follows the key signature of the key, and therefore there is a lot of note overlap – every chord uses three out of a possible seven notes, which means that these seven chords tend to sound pretty good together. To understand this phenomenon, we turn to the scale.Įvery major and minor scale has seven pitches, and a chord can be built on each of the seven pitches. So why do some chord progressions pop and others flop? Scales and Chords We know that some chords sound good together, and some… not so much. One Chord In Front of the Other A Bit of Theory Writing Songs with Common Chord Progressionsħ. What makes songs with the same progression sound different?Ħ. What makes a chord progression sound good?ĥ. Stay with us as we take you through a bit of theory to explain where these chords come from, look at the most popular ways in which they’re strung together, and explore how you can use these progressions to write your own unique tune without falling into the trap of music cliché. It turns out, there’s a whole stack of these common chord progressions that gained their fame through their strong sense of purpose, direction, and resolution. Watch out for extraneous string noise.This particular progression is known as the I – V – vi – IV, and it’s no accident that thousands of songwriters have used it to great effect – it’s been described as a progression that sounds satisfying, hopeful, complete, and sentimental. Strings 4-3-2 typically have a more mellow sound. Next, try the minor triads in Gmin, Dmin, Amin, and Emin on 4, 3, 2. Pay close attention to the first attack of each inversion. Taking the keys of C, F, Bb, and Eb, practice playing all of the inversions of the minor triad on 3, 2, 1, working your way up and down the fretboard. Flat the 3rd, and perform C minor triad, first and second inversions on the top string set on 3, 2, 1. Let’s check out the inversions of minor, traveling up the fretboard. Play the following triads alternating between four and two beats each. Now on 4, 3, 2, run through the major triads in four more keys. Play the following triads for two beats each.Ģ. Taking the keys of C, F, Bb, and Eb, practice playing all of the inversions of the major triad. On the top string set 3, 2, 1, root position is playable in third position, first inversion in eighth position, and second inversion in twelfth position. A triad with the 5th of the chord in the bass is called a triad in second inversion. To get a second inversion triad, move the E up an octave, giving you G C E. A major triad with the 3rd in the bottom is called a triad in first inversion. Moving the C (the bottom note) up an octave yields E G C. A root-position C triad is spelled C E G. To invert a chord, move the bottom note up an octave. Up and down the fretboard refers to moving voicings from the lower-numbered frets to the higher-numbered frets (where the higher pitches are).Īcross refers to taking the inversions from the higher-pitched strings to the lower-pitched strings. We will look at two ways to work on chord inversions on the guitar: up and down the fretboard and across the fretboard. ![]() The following approach should help us to get to more possibilities in the most effective way possible. Up the Fretboard and Across the Fretboardįirst, a clarification of terms is in order.
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