#1
Hey all.
So I've got this idea.
Let me make this real quick first progression: II V Pre chorus:V IV, then Im kindda stuck on this.
I have tried to experiment but it just won't work.
So what do you guys do when you've ran out of inspiration?
#2
Do you want it to resolve to I or no? if you do, you could make the chorus perhaps something like I IV I II, or I IV II V.

If you don't want to resolve it to I what would it resolve to?
Quote by willT08
Quote by HowSoonisNow
How was Confucius death metal?
You've clearly never read any Confuscius.

As I wait on the edge of the earth,
I can see the walls being torn down again
Only to be rebuilt in another name,
On a different day
#4
:d
Quote by willT08
Quote by HowSoonisNow
How was Confucius death metal?
You've clearly never read any Confuscius.

As I wait on the edge of the earth,
I can see the walls being torn down again
Only to be rebuilt in another name,
On a different day
#5
Sarcastic or not, I sigged that.
Quote by willT08
Quote by HowSoonisNow
How was Confucius death metal?
You've clearly never read any Confuscius.

As I wait on the edge of the earth,
I can see the walls being torn down again
Only to be rebuilt in another name,
On a different day
#6
Quote by thePTOD
Do you want it to resolve to I or no? if you do, you could make the chorus perhaps something like I IV I II, or I IV II V.

If you don't want to resolve it to I what would it resolve to?

I'll make a youtube vid tommorow I think.
Because these aren't just triads.
Anyways I want this song to walk from dorian to the pre chorus then to phrygian, how do I do that?
I tried billions of key changes and billions of things in the same key.
Edit:Just got another idea in the same key: IV III II 1 time and then I switch to III IV II.
Does that sound any good?
Last edited by liampje at Apr 23, 2011,
#7
Quote by liampje
Hey all.
So I've got this idea.
Let me make this real quick first progression: II V Pre chorus:V IV, then Im kindda stuck on this.
I have tried to experiment but it just won't work.
So what do you guys do when you've ran out of inspiration?


You can try a vi7 or iii7.

When I run out of inspiration I go do something that brings it back. I set it down till my heads together and I can hear again. When I stop being able to hear, I look at what I'm writing and ask why am I writing it in the first place? Is it because I feel I have you, or that I have something to say. If so then I wait for the rest of it.

Sean
#8
Quote by Sean0913
You can try a vi7 or iii7.

When I run out of inspiration I go do something that brings it back. I set it down till my heads together and I can hear again. When I stop being able to hear, I look at what I'm writing and ask why am I writing it in the first place? Is it because I feel I have you, or that I have something to say. If so then I wait for the rest of it.

Sean

The only reason I write is because I feel like it.
And I feel like I have tons of ideas in my head, but they wont come out!
Perhaps I should experiment in my head.
#9
Are those all major?
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#10
Quote by food1010
Are those all major?

No, I count them by the major scale and I have got in my head that I IV and V are majors.
And II III VI minors, and VII diminshed.
I know minors are mostly without capitol letters.
#12
Wow, I just noticed that songs of Vai, which have chord progression mostly go like, that the progressions run into each other or they switch in a totally different rhythm and style.
I gave the last one a name: phase.
How do I let the chord progressions run into each other smoothly?
Like Hand On Heart, I know I need to keep the same rhythm.
#13
No, chord progressions don't have to resolve, it's an artistic choice...yours.

You have to have an overall understanding of the underlying progression and understand how it flows. This comes from seeing the big picture, understanding how it works, why it works and what's being done to make it work. It's understanding the parts themselves as well as the sum of the parts as a whole.

Ask your guitar teacher to teach you music theory.

Sean
Last edited by Sean0913 at Apr 24, 2011,
#14
Quote by liampje
I know minors are mostly without capitol letters.
Yeah, please specify, just so it's clear whether you mean the diatonic triads or not. You could even do IIm if you want, if you don't want to use lowercase roman numerals.

Also, you can edit your posts, so you don't have to post three separate posts in a row.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#15
Quote by food1010
Yeah, please specify, just so it's clear whether you mean the diatonic triads or not. You could even do IIm if you want, if you don't want to use lowercase roman numerals.

Also, you can edit your posts, so you don't have to post three separate posts in a row.

It's for the first thingy ii V then pre chorus or bridge dont know how its called V IV.
Then I'm stuck, I can't play anything that doesn't sound like another song.
#16
And can cadences also end on like the ii chord?
For an example for authentic cadence vi->ii.
Is that correct?
EDIT: Can I use the cadenced chord as my beginning of the next progression?
Last edited by liampje at Apr 24, 2011,
#18
Quote by Sean0913
No on the Authentic Cadence. Learn your cadences and what they mean.

Yes on the edited question.

Sean
Yep. An authentic cadence is from a V to a I or i
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#20
Enough to keep you busy.

V7 -> IMaj7 (or I-7) is just an expected resolution. You can make it a deceptive resolution by going to any other chords. V7 -> VI-7 is a deceptive resolution, but still allowed. And from there you can build a II- V back to I, or whatever you want. You don't have to follow the rules of cadence or resolution.

Trust your ear. Find a root you like for the next chord, and then you can find the quality of the chord.
#21
Quote by LaggingTom
Enough to keep you busy.

V7 -> IMaj7 (or I-7) is just an expected resolution. You can make it a deceptive resolution by going to any other chords. V7 -> VI-7 is a deceptive resolution, but still allowed. And from there you can build a II- V back to I, or whatever you want. You don't have to follow the rules of cadence or resolution.

Trust your ear. Find a root you like for the next chord, and then you can find the quality of the chord.

So you say like Steve Vai and Joe Satriani wouldn't think of their theory when writing a song?
OMFG, I can't freaking stop myself from wanting to be like Steve Vai gosh.
But I still want to know the answer.
#22
Quote by liampje
Hey all.
So I've got this idea.
Let me make this real quick first progression: II V Pre chorus:V IV, then Im kindda stuck on this.
I have tried to experiment but it just won't work.
So what do you guys do when you've ran out of inspiration?


when i have run out of inspiration. i meditate.
your pre chorus would easily resolve to a Imaj7 or Im7 or Im6.
The chorus could substitute either chord for their relative minor so a IIIm for the V chord
and a IIm for the IV chord.
at all points you could alter the bass notes of the chords .

chords from the (parallel ?)minor could spice things up , especially the bVImaj7 and bIII


heres something for you :

pre chorus: (with ascending bass line )

|Dm7 | G | G/A| G/B | Dm7 | Dm/C | Dm/B | Dm/Bb |

chorus (adding some bIII and bVI chords in there .

|Asus4 | A | G | Gmaj7 | Bb | Bbmaj7 | A7#5 | Dm |

|Asus4 | A | G | Gmaj7 | F#m7 | Fm7b5 | Fmaj7 |A7 |


Ive taken the key centre to be C major here.
saying It could be thought of as D minor where the scale degrees would all change accordingly ?