#1
Let's say I play an intro to a song with single notes, starting on low E string open then playing A Major on the low E string and progressing as I choose. Now I want to move into some sort of chord progression. Would I have to follow the E, A, etc. pattern that I did for single notes, or could I rearrange the chord structure based on how I want it to sound? Also, what other kind of variations can I use for a theme?

Thanks for the advice!
Last edited by CousticStrangla at Sep 21, 2007,
#2
Don't think about it like that. Think about the chord progression first, and then fit in notes that follow accordingly. If you want to accompany a pre-determined single-note melody to chordal harmony, determine where the emphasized notes are, and build a chord with them as harmonic notes. You don't have to put a new chord behind each new note - that's where nonharmonic notes come in.
#3
Well, the major scale is your guide here - you can mirror the notes with chords, but you'll get interesting effects by mixing things up using chords that allude to the notes. Let's take the simple E to A progression and use that as a bassline, over that you could simply have E and A chords. However, looking at the major scale the 1st, 4th and 5th notes of A major are A, E and D....that means you could, for example have the chords E and D over the E to A bassline. Also you can really beef up a D chord by adding an extra low A which would also have the added benefit of strengthening the chords link to the A bass note.
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#4
Quote by steven seagull
Well, the major scale is your guide here - you can mirror the notes with chords, but you'll get interesting effects by mixing things up using chords that allude to the notes. Let's take the simple E to A progression and use that as a bassline, over that you could simply have E and A chords. However, looking at the major scale the 1st, 4th and 5th notes of A major are A, E and D....that means you could, for example have the chords E and D over the E to A bassline. Also you can really beef up a D chord by adding an extra low A which would also have the added benefit of strengthening the chords link to the A bass note.



Thanks a lot for the help! Quick question, why would you use the 1st, 4th and 5th notes of the major scale as opposed to say 1, 3 and 5? Also, the major scale is derived from the chromatic scale, right?
#5
Quote by CousticStrangla
Thanks a lot for the help! Quick question, why would you use the 1st, 4th and 5th notes of the major scale as opposed to say 1, 3 and 5? Also, the major scale is derived from the chromatic scale, right?

You don't *have* to use the 1, 4 and 5, however they're the "strongest" tones in the scale...they're the ones that most reflect the key as it were. In classical terms the root is also known as the tonic, the 5th is calle the dominant and the 4th is the sub-dominant...those terms reflect the significance of those particular notes withing the scale.

Using other notes is fine but bear in mind that thry'll sound more ambigous and wil have a less definite connection with the bass notes...however that kind of thing can create some real tension in your music if done right. The major scale isn't really derived from the chromatic scale....which in itself is just a posh way for saying lots of notes next to each other
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#6
Quote by steven seagull
The major scale isn't really derived from the chromatic scale....which in itself is just a posh way for saying lots of notes next to each other



How is the major scale constructed? I thought it was a series of steps being WWHWWWH which if you are to follow through including sharps and whatnot?