#1
hey ive been playig guitar for about 2 years and been learning my chords mostly
and heres a frequent one of the progressions that ive learned from my dad and grandpa

Cmaj.-Amin.-Dmin.-Gmaj.7
heres another one
Gmaj.-Emin.-Amin.-Dmaj.7

now ive never seen these anywhere on this website even though they helped me learn alot about music theory ive been told its a I-iv-ii-V progression but dont really understand how youre supposed to apply this to songs or solos
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#2
It's a fairly common progression, it probably is in some song on this site. There's this chart called the harmonic progression which is the basis for all chord progressions. There are exceptions to this, as there are with all music rules, but it's a good guideline. As for soloing over it, arpeggiate the chords and hit chord tones using the major scale from the I chord, so with your first progression, it would be C major.

These are general guidelines, but should form a strong basis.
#3
it's I-vi-ii-V but yea... its pretty much just a progression in the key of C except the VM7 isn't perfectly in key.
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#4
Quote by zipppy2006
it's I-vi-ii-V but yea... its pretty much just a progression in the key of C except the VM7 isn't perfectly in key.


so youre saying it should be a regular dom.7 or what?

and as for stuey... where would i find this so called harmonic chart?
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#5
um, both of those are in key from what i can tell, i don't know how they wouldn't be, first one is C major, the second one is in G major
#6
BEST bet:

Stay in C Major, and when you come to the G Maj7 chord, either stay away from both F and F# (C maj pent ftw :p or if you're feelin lucky, accentuate one or two of them (chromatic ascent from D, E, F, F#, G? :p.

The inbetween would be the bad choice here, because if you have a driving big solo and you're unsure and unconfident and you BARELY hit a F# or maybe an F, you'll sound off and you'll lose confidence in your solo. After a while, a musician will have more confidence to hit teh sour notes and even make em sound good.

Btw, so the progression you listed is ALMOST a 1 - 6 - 2 - 5, save for the VM7,

now if you know anything jazz, start that progression on the 2:

a 2 5 1 6! 2 5 1's and 2 5 1 6's are the most common easy progression in jazz. Accent the 7ths of each chord, solo over the chords modally highlighting the chord's 3rds/5ths/7ths, and you've got an easy VERY soloable progression!

Have fun!
#7
F#?
ohhhhhh *smacks himself in the head* i just realized that ive confused my major 7ths and my dom 7ths
*proceeds to smack himself again* what a dumbass...
anyway i came up with something after first learning this chord progression about a year ago and am sad to say that it was already made (great minds think alike eh?)

goes like this

C Am Dm G7
E--------------0--------------------------0-----------------------------1-------------------------1----------
B--------1----------1---------------1---------1------------------3-----------3------------0-----------0----
G-----0-----0----0----0--------2-----2----2----2-----------2-----2----2-----2------0-----0----0-----0-
D-----------------------------------------------------------0---------------------------------------------------
A--3--------------------------0---------------------------------------------------------------------------------
E------------------------------------------------------------------------------------------3---------------------
its a cool very spanish sounding thing to play but ive already heard it in a mexican song, not sure which one though but is this what you were talking about stuey and mangablade?
if so i dont know how you could use that to form a kickass solo on electric guitar aside from using pentatonics such as a minor or maybe i shoud sweep pick it, hmmmmmmmm need to try that...
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#8
and again where would i find this harmonic chart?
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#9
The arpeggios of those chords cover the entire neck, not just the open position. As you solo, hit those notes anywhere on the fretboard as target notes.

I'm not sure what stuey means by the harmonic chart. Check out the Music Theory FAQ
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#10
A solo shouldn't just be repetitive patterns and pentatonics

Emphasise rythmns, articulations, and cool harmonies.

Now that you say its a G7, not a G maj 7, it IS in C major.

You can now play C Major / A minor, any of the modes, throw in chromatics, you have a ton of room, as this is a very soloable progression.

Try to start your notes on the 5th of each chord (so its a C major chord? play G myxolydian,
try E Phrygian over A minor, etc.). Try holding a few notes, adding vibrato, and have differences in steps. You can slowly go up and down a scale, going note by note, or maybe do it by 3rd/4ths, or take even larger steps, anything to keep the solo varying and not boring. Try to get some1 (or a program) to play the progression over and over, and solo over it.
#11
Quote by mangablade
(so its a C major chord? play G myxolydian,
try E Phrygian over A minor, etc.)

Playing notes from G mixolydian over C would sound like (and be) C Ionian
Playing notes from E phrygian over Am would sound like (and be) A Aeolian

The chord determines the mode
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Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
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#12
theyre fairly common in mexican music, theyre called "circulos" (circles).
Like if someone says: "play the G circle" or circulo de Sol, what they mean is the G progression you posted.
Dont know why they are called like that or how theyre used though.
#13
Quote by mangablade



T(so its a C major chord? play G myxolydian,
try E Phrygian over A minor, etc.). .



don't listen to him because he's trying to be a smart ass, he doesn't know his modes. for now juts play C major over the thing and than when you learn modes, you'll play G mixolydian on G7 and A aeolien over Amin