#1
Hopefully this is a successful thread, because It'd be a big help to alot of people on here, including myself, and itll help us learn what everyone else knows. This covers all kinds of metal, but I rarely stray from the symphonic black metal stuff.

What this thread is about is that we will post up what we think make some awesome chord progressions or something, and a good thing to do with these progressions is program them on GP to loop and just solo or riff over it.

I find that if you take the triads of alot of minor chords (and some major chords), and make each one a chord, you can make yourself a sick ass 3 chord progression. For example:

Progression 1 - Am Cm Em

To make it sound cooler though, you could play it like Am Cm Am Em, or instead, change the Em to the 7th, which would be Gm (I think). Some more progressions:

Progression 2 - Fm Am Cm

Progression 3 - Gm Bm Dm

See what I mean? Anyways, I have a bunch more but im gonna go watch pathfinder. When I come back Ill add some more of mine, they stray from this path and sound BADASS, trust me.

Anyways, lets see what our fellow metal UGers can come up with!

#2
I made a pretty cool progression that is probably more of a melody than a harmony. Here it is anyways - the chords aren't really chords but if I took the time to add thirds to the triads they'd be augmented fifths, some sixths and a G major chord.

Here it is


Guitar
     G     B/5+  E/5+  B/5+     D#/5+ F#m   E/5+          A6    D#/5+ A6    
     Q     Q     Q     Q        Q     Q     Q       Q     Q     Q     Q     
E||-------------12----------|--11----------------|-------------11----------|
B||--0----12----13----12----|--12----10----------|-------10----12----10----|
G||--0----12----------12----|--------11-----9----|-------11----------11----|
D||-------------------------|--------------10----|--9----------------------|


  G6   F#6   D#/5+F#6     E/5+ B/5+  C6   B/5+    F#6   C6   F#6   A6    
  Q    Q     Q    Q       Q    Q     Q    Q       Q     Q    Q     Q     
------------11---------|-------7-----8----7----|--------8---------------|
--8----7----12----7----|--5----8----10----8----|--7----10----7----10----|
--9----8----------8----|--5--------------------|--8----------8----11----|
-----------------------|-----------------------|------------------------|


  D#/5+  E/5+  A6    E/5+    F#6  G6    B/5+  F#6   
  Q      Q     Q     Q       Q    Q     Q     Q     
--------------------------|------------------------|
--------------10----------|--7----8----12----------|
--8------9----11-----9----|--8----9----12----11----|
--9-----10----------10----|------------------13----|


   S  S  S  S  S  S  S  S  S  S  S  S  S  S S  S    Q     Q    Q    Q     
-------------------------------------------------|-----------------------|
-----17----16-------------13----12------------10-|-------10--------------|
--16----16----14----14-12----12----11----11-9----|--9----------8---------|
-----------------13-------------------10---------|------------------7----|


  Q    Q     Q    Q       Q    Q    Q    Q       Q                             
-------7----11---------|--8----5---------7----|-------|-------|-------|-------|
------------------8----|------------7---------|--7----|-------|-------|-------|
--8--------------------|----------------------|-------|-------|-------|-------|
-----------------------|----------------------|-------|-------|-------|-------|


-------|-------|-------|-------|-------|-------|-------|-------||
-------|-------|-------|-------|-------|-------|-------|-------||
-------|-------|-------|-------|-------|-------|-------|-------||
-------|-------|-------|-------|-------|-------|-------|-------||


Duration Legend
---------------
W - whole
H - half
Q - quarter
E - 8th
S - 16th
T - 32nd
X - 64th
. - note dotted
|-n-|  - n-tuplets


/no one steal this.

BPM = 120 and its all quarter notes except one rest in the second bar.

But if you had to choose a real progression that sounds pretty metal go with G#m, E, F#, G#m key of B.
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Last edited by BadBishop at Sep 6, 2007,
#3
Progression 1:

G A# C

G A# C# C

G A# C

A# G


Good Black Sabbath song, imo.
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#4
Apologies if this is obvious, or alternatively, if some people have no idea what I'm talking about- depends if you studied any theory:

One of the best ways to think about chord progressions is rather than use root position triads all the time, use inversions so that the chords flow better.

e.g. When trying to write a section that is suited to repetition and development (minimalist/post-minimalist) one progression that works really well is moving from:

F major 2nd inversion (From lowest to highest note played: C, F, A), then to C major root triad (C, E, G). So essentially you're going from 1, 4, 6 to 1, 3, 5. By keeping the same root note the chords maintain continuity whilst the harmony overall still changes and allows for new melodic possibilities over the top. This sort of idea obviously works in any key or with any 2 chords, and then by expanding the number of chords you can make this far more complicated. (Changing the keys to minor will probably make them sound more metal.. :p)

Further to that if you start adding occasional 7ths or 9ths in there it gives you even more options to play with allowing you to write more complex music (for those so inclined).
Last edited by Tim Charles at Sep 6, 2007,
#5
I really enjoy i VI v progressions. Try this

E-----------|---------|----------|---------|
B-----------|---------|----------|---------|
G-----------|---------|----------|---------|
D-----9----|----9----|----5----|----4----|
A-----7----|----7----|----3----|----2----|
E-----7----|----7----|----3----|----2----|
#6
Quote by Tim Charles
Apologies if this is obvious, or alternatively, if some people have no idea what I'm talking about- depends if you studied any theory:

One of the best ways to think about chord progressions is rather than use root position triads all the time, use inversions so that the chords flow better.

e.g. When trying to write a section that is suited to repetition and development (minimalist/post-minimalist) one progression that works really well is moving from:

F major 2nd inversion (From lowest to highest note played: C, F, A), then to C major root triad (C, E, G). So essentially you're going from 1, 4, 6 to 1, 3, 5. By keeping the same root note the chords maintain continuity whilst the harmony overall still changes and allows for new melodic possibilities over the top. This sort of idea obviously works in any key or with any 2 chords, and then by expanding the number of chords you can make this far more complicated. (Changing the keys to minor will probably make them sound more metal.. :p)

Further to that if you start adding occasional 7ths or 9ths in there it gives you even more options to play with allowing you to write more complex music (for those so inclined).


thanks for the info

that will be put to some good use by me, hopefully
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#7
Quote by Tim Charles
Apologies if this is obvious, or alternatively, if some people have no idea what I'm talking about- depends if you studied any theory:

One of the best ways to think about chord progressions is rather than use root position triads all the time, use inversions so that the chords flow better.

e.g. When trying to write a section that is suited to repetition and development (minimalist/post-minimalist) one progression that works really well is moving from:

F major 2nd inversion (From lowest to highest note played: C, F, A), then to C major root triad (C, E, G). So essentially you're going from 1, 4, 6 to 1, 3, 5. By keeping the same root note the chords maintain continuity whilst the harmony overall still changes and allows for new melodic possibilities over the top. This sort of idea obviously works in any key or with any 2 chords, and then by expanding the number of chords you can make this far more complicated. (Changing the keys to minor will probably make them sound more metal.. :p)

Further to that if you start adding occasional 7ths or 9ths in there it gives you even more options to play with allowing you to write more complex music (for those so inclined).



And not only does it sound cool, but if you are on a keyboard this is also alot smarter, as it is basically a boxed position, and you only have to move 2 fingers down a step or so. Its alot easier to do it like this than to jump around everywhere.

Also, it sounds really cool if, for example, you play an Cm triad on the bass side of the keyboard, or the string section or something, and on the other end of the keyboard you play the 1st or 2nd inversion of the Cm triad, using a choir or church organ setting. This makes it so it doesnt sound like a boring octave chord which is used wayy too much, and it still sounds pleasing to the ear.
#8
Great idea for a thread insideac
I'm not sure if I'm the only one, but I have a major problem of not being able to form up / join random Riffs, Progressions etc into more of a 'song structure'.

I don't know much theory, but I know the basics of chord construction etc, And I also am a Bassist, and don't have access to a Guitar (which is a pain, as I'd like to learn how to play Guitar - because well i listen to heaps of Guitar Driven Music ). So I have random ideas for compositions & the like in my head, but have difficulty putting them onto instruments.

*Oh and I end up just jamming by myself & coming up with different arpeggios / chords so I guess I could post some of them..... yes chords on Bass
#9
Good thread idea could use something like this. But for ****'s sake DON'T waste your time on Pathfinder.
#10
i've really been getting big into neopolitan chords lately, especially in a minor progression like i, N6, V(borrowing a note from the harmonic minor to make a major chord)
hello
#11
I found that the major 13th arpeggio has a nice tonality to it it kinda evolves from major and minor which tend to have limits when trying to sound original the scale and can be used over Em, F#m, Bm, Dsus2 best one and more go find out...
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#12
Good Idea


The good old I-IV-V always works!
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language!

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#14
I wish I knew theory, I'm pretty much stuck banging away on power chords, forth chords, octaves, minor third diads and tritone diads until I find stuff that works.
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#15
ein eim av blod og helvetesild has a awesome riff!
it's a shame that there's not a tab or something about this song!