#1
Ok so I'm wanting to write this intro to a song of mine with 2 acoustic guitars. I want it to have a very mystical and gloomy chord progression. I haven't figured out the key I want it in yet so we'll just go with Cminor for now. Can anyone help me out on what would be a good 4 chord progression that is very mystical and gloomy?
#2
Quote by Majin Gaara
Ok so I'm wanting to write this intro to a song of mine with 2 acoustic guitars. I want it to have a very mystical and gloomy chord progression. I haven't figured out the key I want it in yet so we'll just go with Cminor for now. Can anyone help me out on what would be a good 4 chord progression that is very mystical and gloomy?


Whos song is it? ours or yours?


* sorry


why don't you experiment a bit and see what you come up with? I mean that way you can say that you came up with a cool riff.
Last edited by GuitarMunky at Feb 3, 2009,
#3
In all honestly, you're not going to learn anything by having us write it for you. Write your own music.
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#4
I'm more asking for good chords than anything really
Say "Try a add9 chord here and then go to a b5 for there" type of thing
#5
What do you mean by "mystical" and "gloomy"? These are just words; musical meaning is in a sense a bit more objective than lingual meaning. I mean G - Am sounds the same to everybody (so far as is possible to tell), but people can give a different description of it if they have to describe it in words.

What you need to do is find a few different pieces that you would describe as "mystical" or "gloomy" and try to find a common idea in them.
#6
In all honestly, you're not going to learn anything by having us write it for you. Write your own music.


+1
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#7
hm, I just screwed with a few chords and i found a couple you might like

Cm7add#6 - the A isn't in key, but the way it clashes a little with the 7th kinda adds to the mystical feel

|-5-
|-4-
|-3-
|-5-
|-3-
|---


Fsus4add7 is another one i think would sound good. and there are a bunch of cool voicing you can use.

|-1--1--11--
|-1--4--11--
|-3--3--10--
|-1--3--10--
|-3-----8---
|-1---------



but just screw around, try different chords, make some up, do whatever you want. it's your song.
Last edited by The4thHorsemen at Feb 3, 2009,
#9
^^Throwing around random extended chords and diminished chords will just sound unstable and disrupt the melody.
Quote by Majin Gaara
Ok so I'm wanting to write this intro to a song of mine with 2 acoustic guitars. I want it to have a very mystical and gloomy chord progression. I haven't figured out the key I want it in yet so we'll just go with Cminor for now. Can anyone help me out on what would be a good 4 chord progression that is very mystical and gloomy?
You do realise the chord progression has very minimal impact on how the song actually feels in the end? The most important aspects are (imo) melody, melodic phrasing, rhythym, tone and then the chord progression, in that order.

Well, if you must.

Assuming you know how to build a standard progression that resolves, substitute your functioning dominant chords for functioning vii0 diminished chords. This will sound darker, but lessen the resolve. This works especially well in minor tonality (imo).

So Am Dm E7 can become Am Dm G#mb5
Keeping in mind you can use any predominant between the tonic and the dominant chord.\
        ,
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[U]     | \|_ |     |     .-|      [/U]
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        L.
#10
Quote by The4thHorsemen
Cm7add#6 - the A isn't in key, but the way it clashes a little with the 7th kinda adds to the mystical feel

Fsus4add7 is another one i think would sound good. and there are a bunch of cool voicing you can use.
.
You could call those Cm13 and F7sus4 (or just Fsus). Saves space, less complicated.
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
#11
Quote by ramm_ty
You could call those Cm13 and F7sus4 (or just Fsus). Saves space, less complicated.
F7sus4 isn't a real chord, there are no triads being formed with the root. It's more appropriate to call that a Cm11 with the fifth omitted.
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        |\
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[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#12
Quote by demonofthenight
F7sus4 isn't a real chord, there are no triads being formed with the root. It's more appropriate to call that a Cm11 with the fifth omitted.
Is a suspended triad not a triad? Why would I call it a Cm11 if the root is F? It can function just like an F7 chord.
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
#13
Quote by ramm_ty
Is a suspended triad not a triad? Why would I call it a Cm11 if the root is F? It can function just like an F7 chord.
No, it's not a triad. A triad by definition is a root, third and fifth (even though the fifth is omited from most jazz voicings). No third, no triad.
In jazz it goes a little deeper, all voicings should have a third and a seventh.

The root is whatever note is established by the other notes. Not whatever note you choose.
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        |\
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[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
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        L.
#15
Quote by demonofthenight
No, it's not a triad. A triad by definition is a root, third and fifth (even though the fifth is omited from most jazz voicings). No third, no triad.
In jazz it goes a little deeper, all voicings should have a third and a seventh.

The root is whatever note is established by the other notes. Not whatever note you choose.
But if I'm using it as a substitute for an F7 chord, why should the root be anything but F? I don't understand why you would decide to relate all the intervals to C just because the third was replaced by a fourth.

I've been reading 7sus4 chords off lead sheets for awhile so pardon me if I seem a bit confused.
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
#16
Quote by ramm_ty
But if I'm using it as a substitute for an F7 chord, why should the root be anything but F? I don't understand why you would decide to relate all the intervals to C just because the third was replaced by a fourth.

I've been reading 7sus4 chords off lead sheets for awhile so pardon me if I seem a bit confused.
Exactly that, there's no third in F7sus4. It's not a triadic chord, so it's better to name it a triadic chord.

You don't seem to realise, a chord is defined by it's third.

And yeah, you'll see alot of things in sheet music, especially in real books. These are nomenclature errors or because it was easier to play these chords on guitar or someting to do with inversions.
        ,
        |\
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[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#17
Quote by demonofthenight
Exactly that, there's no third in F7sus4. It's not a triadic chord, so it's better to name it a triadic chord.

You don't seem to realise, a chord is defined by it's third.

And yeah, you'll see alot of things in sheet music, especially in real books. These are nomenclature errors or because it was easier to play these chords on guitar or someting to do with inversions.



Yes a triad is music is defined as that, but linguistic it's also greek for a pair of three.

A chord is not defined by it's third. It's just 3 or more intervals played simultaneously (in harmony).

And why call F7sus4 a Cm11. That doesn't make sense at all. Then you totally alter the function of the chord.

Just because it has the same pitches doesn't mean you can just call it differently.

And the root is exactly what you choose.

You make the decisions in music. If you don't' choose the root, then everything doesn't exist.

Root's are only omitted in Jazz, because they are played by bass, but they are still part of the harmony, and is just so chords either don't get cluttered, or so you can play more voicings, because of the limited notes you can simultaneously play.


If you change the roots (and write it as such on Sheet), then a bass player will play C instead of F. You will mess with the entire movement then.

The only thing it can be called is Cm13/F or F7sus4. Cm13 is just misleading.

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Last edited by xxdarrenxx at Feb 4, 2009,
#18
Well in music a triad is a 3 note chord where the notes are stacked in thirds.

But the Cm11 without a fifth is lacking a fifth which is part of the base triad of the Cm chord. So what makes that any better??

A seventh chord is not a triad. It's a seventh chord. A triad has three notes (a root a third and a fifth).

A chord is three or more notes. There is no reason those notes must have a root third relationship in order to qualify as a chord.

If there ever was once upon a time that day is gone now.

You name a chord after the root. I think it was well said before

Quote by Demonofthenight
The root is whatever note is established by the other notes. Not whatever note you choose.


The root is the prominant note of the chord. It is the note that, through it's relationship with the other notes in the chord, provides the fundamental sound of the chord. -It's not just whatever note you want it to be. In the case of F7sus4 the root is F.

Cm11/F is another possible name but there's several things working against the C root that make F7sus4 a more appropriate name.
1. The F bass note. The bass note will usually provide the fundamental sound of the chord. In cases where this is not the case it is an exception due to other circumstances. The root note is usually found in the bass because the bass note is such a powerful note in the chords structure.

2. The presence of the C as a fifth above the F reinforces the fundamental nature of the F note. The C is lacking just such a fifth and so it's power as the fundamental note in the chord is lessened without that fifth- instead the C is making a stronger case for the F. Think about one of the first rules in counterpoint - you can't harmonize the first note in the contra firma (the root) with a note a P5 below because the ear will hear that lower note as the tonic and create confusion because of the harmonic relationship between the two notes. Same thing in these two chords F below C reinforces the fundamental nature of the F.

3. The function of the chord if the chord is a F7sus4 serving the function of a dominant in the key of Cm then Cm13 is not quite the same thing now is it. If you are using direct substitution for a tonic in the key of Cm then Cm13 is appropriate.

All of these things, and others, go into defining a chords root. But I am going off topic. All we need to know is that there is such thing as an F7sus4 chord. If you think otherwise then just keep quiet because you will only embarrass yourself. We aren't professor's sitting around a music library discussing the technicalities of the definition of the term "chord". And though I do promote proper use of terms where appropriate we are still musicians discussing real world meanings and useful definitions. For most (obviously not quite all) musicians F7sus4 is a chord - a rather common chord at that and frankly, that's all that matters.

EDIT: But if anyone does have the urge to be the know it all professor type then according to Wiki the term chord originally comes from cord which in turn is a shortened version of accord. Originally a chord was made up of a root a perfect fourth a perfect fifth and an octave. What we today would call a sus4 chord. It was later that tertian harmony and the triad was adopted.
Si
Last edited by 20Tigers at Feb 4, 2009,
#19
whoa, I opened a can of worms lol, I just kinda made up the chord on the spot and gave it the best name I could think of (i agree it should be called a F7sus4 but I didn't really give it much thought and threw out the first thing that would get the point across.


and wow, after all that debate I'm the only one that gave any helpful suggestions.
#20
Quote by The4thHorsemen
whoa, I opened a can of worms lol, I just kinda made up the chord on the spot and gave it the best name I could think of (i agree it should be called a F7sus4 but I didn't really give it much thought and threw out the first thing that would get the point across.


and wow, after all that debate I'm the only one that gave any helpful suggestions.


Ther's no chord in the world that is by definition mysterious.

If there was I be mysterious music composer numero uno.

I even found "mysterious" melodies over a progression of no more then an Am - G progression.

I even found "mysterious" music using just a droning E note.

It's a vibe, and everyone needs to find out for himself how he connects with music and which notes he chooses in his song that lets his emotion or idea come across the way he wants to.

Just keep fiddling and adding notes, until ur inner voice says; Yes! that's what I want.

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Who's Andy Timmons??
Last edited by xxdarrenxx at Feb 5, 2009,
#21
ummmm. I thought I'd goof off after all the practise I had today, and my fingers found this

|-0-
|-0-
|-5-
|-5-
|-6-
|-0-

I'm too lazy to see if its a chord in my giant unholy book of chords

but yeah. reading your topic prior to me ****ing around, and I come up with this little number and thought its pretty sweet, if you do some improv with really ****ty strumming, if you manage to do a rather quickish down down up pattern hitting all the strings will give it the heavy gloomy sound while hitting every other string apart from the low e string will give it a mystical kinda sound.

But in truth from all my years playing the gee tar, you often don't find what you want when it comes to songwriting by looking through stuff thats already been created or done before and been so outrageously butchered by wannabe musicians everywhere.

I believe dadd6add9 was created out of accident and look where it plopped itself, in "Horse With No Name"

And its really not a good idea to ask people for advice for chord progressions over the internet, cause if even for the slightest chance, that you make it somewhere and get rich and have a playboy bunny wife.... or Hugh Hefner (if you're a chick :P), you'll have every man and he's dog after you claiming they gave you the idea, cause if you make it big, all these peoplez on the interwebz might remember this particular thread and say they gave you the progression etc for it and want royalities.


Oh and by the way, not all people are sane musicians, I used to go high school with this kid who thought Children of Bodom was like the most awesomest band, so much he dropped working on chords of any kind whatsoever and just focused on doing solos, every school talent show, he'd play like two chords, then bust into a solo and it'd go for a good 6 minutes whilst singing like a demented midget dog, I'm not gonna embarass myself by mispelling the dog breed, but if you ever watched the simple life, and heard Paris Hilton's dog bark, thats what that dude sounds like.

What sounds like heaven to one person, sounds like nails on a chalkboard to another, and always remember that.

And cause of that one kid, I've been turned off fast paced solos and work on solos like in Smells Like Teen Spirit, how Kurt Cobain makes his guitar literally hum the lyrics, I forgot the technical term for it, I got told to drop music when I was starting high school to do a sports excellency class by the Principal.
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