#1
what makes them resolve, how to, um, well, create them (for lack of any terms to use).


I'm familiar with a few chord progressions, such as C Am F G and A E G D. I find myself getting stuck especially in C major, so much that everything I make ends up being a folk song Anything I try to play outside of C major just sounds bad, whenever I try to throw in funny maj7 chords or whatever.

I'd like to understand why more complicated and unusual chord progressions sound good, such as those in certain Beatles songs.


(sorry, if these questions aren't specific enough or aren't the right questions, I am pretty much clueless right now).
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#2
the beatles didnt rly know jack about chord progressions other than just playing whatever sounds good. but then a chord progression is just any set of chords put together.. you can make a chord progression out of any chords you see fit
#3
well for starters, every major scale has 7 notes. In the key of C, it goes C D E F G A B then back to C. most chords are made up of 3 notes, the first, third and fifth. In C major, the C chord is C E G, the first, third and fifth notes starting from the C. That is basically how chords are built from the major scale.

I am no master, but one thing i like to try is going outside the scales. Say you have a chord that sounds awesome and a cool chord to finish, but you have no middle chord. You find that staying in the major scale sounds too plain. One thing I like to try to do is figure out the chord I'm trying to get to, in the key of C lets say we want to get to the G chord. Using an F note before doesn't sound like its trying to go anywhere. You can raise that F note to an F sharp, and you can hear it pulling to go to G.

Sorry if this is too complicated. What I'm really trying to say is, to start out, maybe you don't wanna go TOO far outside of a scale you know well. Maybe just throw a couple different notes in once in a while
#4
just play. if everyone went by the rules and played to the ways things were "supposed to" sound, then everything would sound the same
#5
http://www.musictheory.net/

Go to the Lessons part and search for common chord progressions.
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#6
Voice leading - use your melody to suggest additional chord tones which will inject a sense of motion into your progressions.
Actually called Mark!

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#7
I'd start with learning to harmonise the major scale - that way you see for yourself how chords are constructed to fit with a scale, including extended chords and altered chords. You can make C Major sound pretty much however you want - it doesn't have to sound folksy. Then I'd follow stephen seagull's advice with a Major melody. When you're comfortable with diantonic stuff then you can experiment and understand what you're doing, and really start having fun
#8
There's A LOT to learn about this. The best thing you can do in my opinion is analyze every interesting progression you hear (Beatles songs are great for this). Feel free to ask about them. I assume you know how to find the diatonic chords in a key. (That means for triads, sevenths, ninths, etc.)

There's a lesson on musictheory.net on circle progressions that's useful if I remember correctly. The gist of it is that chords "like" to move in fourths. You can move from the tonic to any other chord and lead back to it with a string of perfect fourth movements. That's a very important principle.

I could go on and on about this (it's one of my favorite subjects), but you'd be better off looking this stuff up.

Secondary dominants
Borrowed chords
Neapolitan chords
maybe tritone substitution
#9
Quote by steven seagull
Voice leading - use your melody to suggest additional chord tones which will inject a sense of motion into your progressions.


This.

Voice leading is the way chords in progression interact melodically. It's really simple to imagine on guitar because most of the time if you imagine each string as the separate voices you will be correct. The way you move voices can create texture, or no texture, depending on what you want. You can create resolution in the craziest ways, you can suspend resolution, and you can make the most dissonant chords fit perfectly with practice*.

*Not that I'm oh-so practiced with it
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