#1
It's somewhat "jazzy" and has a descending baseline. I can't figure out how to resolve it because I have no idea what's going on in terms of theory. Sorry in advance because I don't use tabs much and try to play by ear when I can help it, so it might not be brilliantly tabbed out. I'm not even going to include the rhythm I came up with, just the chords. It's literally the same two switching off. The gist of it goes like this so far:

------------------------------
-12--11--10-9--8--7--6--5-
-11--10--9--8--7--6--5--4-
-11--11--9--9--7--7--5--5-
------------------------------
------------------------------

The chords aren't actually played that fast lol, I just put them close together to save time. The pattern could probably continue but I want to be able to resolve this to A. Or at least some other stable key that would make sense. So what's going on there? Thanks!
#2
Stick an E7 at the end of that and it'll go into A (major or minor both work) quite easily, or if its not too essential, you can exchange that last chord for the E7. A D9 works quite well to get you into G. It largely depends on how you look at the chords.

Do you have a bass line in mind? That could shed light onto where you are picturing this going.

Also, the rhythm would help quite a lot, as the resolution can often come down to where in the phrase it is placed.

Putting the two together changes things even further. For example, it will sound like you're going to carry on a cycle of fifths (ish) if you choose to resolve on the 4th beat of the 3rd bar of a 4 bar phrase, whereas the strongest place is the first beat of the first bar of a phrase
#3
i would resolve it to Db major or C minor.

(4) (3)
-4- -4-
-3- -3-
-3- -3-
(4) (3)
-x- -x-

but it's your call. there are so many possible options.
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#4
C#7sus C#6, B7sus B6, A7sus A6, G7sus G6

That tritone (G-C#) might be a cool way to resolve back to the start of the progression. You could also move up to G# and hold it there for however many bars and then resolve back to C#. Or D.

You can force pretty much any chord to resolve to any other, if you get creative. Just mess around with bass line resolutions and different chord voicings.
#5
------------------------------
-12--11--10-9--8--7--6--5--6--7
-11--10--9--8--7--6--5--4--4--6
-11--11--9--9--7--7--5--5--5--8
------------------------------
------------------------------


last three chords are Em, C#7(b9) then F#

------------------------------
-12--11--10-9--8--7--6--5--5--4--5--3--2
-11--10--9--8--7--6--5--4--4--4--4--4--2
-11--11--9--9--7--7--5--5--4--4--6--6--2
------------------------------
------------------------------


last 6 chords Em, Bsus4, B, E, E7, A

So many different ways to do this lol
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Last edited by British_Steal at Jun 3, 2014,
#6
Quote by evhledzep5150
It's somewhat "jazzy" and has a descending baseline. I can't figure out how to resolve it because I have no idea what's going on in terms of theory. Sorry in advance because I don't use tabs much and try to play by ear when I can help it, so it might not be brilliantly tabbed out. I'm not even going to include the rhythm I came up with, just the chords. It's literally the same two switching off. The gist of it goes like this so far:

------------------------------
-12--11--10-9--8--7--6--5-
-11--10--9--8--7--6--5--4-
-11--11--9--9--7--7--5--5-
------------------------------
------------------------------

The chords aren't actually played that fast lol, I just put them close together to save time. The pattern could probably continue but I want to be able to resolve this to A. Or at least some other stable key that would make sense. So what's going on there? Thanks!


you're moving 2 chord shapes down the neck chromatically. It's not a chord progression, and it's not in a key, so resolve anywhere that sounds good to you.
#7
Your "progression" could also be something like F#sus4-F#maj7-Esus4-Emaj7 and so on. It really depends on what the other instruments are doing at the same time. We can't really tell what is happening by just looking at what the guitar plays, at least in this case. There are so many different possibilities.
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#8
Quote by GuitarMunky
you're moving 2 chord shapes down the neck chromatically. It's not a chord progression, and it's not in a key, so resolve anywhere that sounds good to you.


This.

You're just moving a stack of fourths into a minor chord, but if you wanted some analytic breakdown for its resolution with some semblance of tonality there's no decent way to describe it.