#2
you can substitute the C with an Em and add a D or Dm after the G maybe...
Originally Posted by evening_crow
Quoting yourself is cool.


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#3
G, Am, Bm, C, D, G
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#4
Well, unless I figured this wrong (which is defiantly possible) this progression is based in G Mixolydian. I would make use of the augmented III chord, but that is assuming you want to bring attention to the Mixolydian aspect.
Those with closed minds bring on themselves nothing but limits.
#5
Try out anything, listen to it, if it sounds good, keep it. Music theory isn't how music should be written, but how it has been written in the past, and every rule has its own exception(s).
Even if it's not very good theorically or musically, if you think it fits well into the song, the feeling of the song or the message, then go for it.
Hello, Mirror - so glad to see you my friend, it's been a while

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Save me - I'm drowning and I'm hopeless on my own
Heal me - I can't restore my sanity alone
#6
Quote by lumpy890
Well, unless I figured this wrong (which is defiantly possible) this progression is based in G Mixolydian. I would make use of the augmented III chord, but that is assuming you want to bring attention to the Mixolydian aspect.


Good call.

+III chords are neglected; they sound great in mixolydian and harmonic minor.

Also give an N6 a try.
#7
Quote by rossjohnson87
It's forms of G-C-Am-F...anything else that can fit musically?

That's actually the progression to "We Close Our Eyes" by Oingo Boingo. I love that song.
I like G-Bm-C-Am-F.
#8
Quote by XDream_TheaterX
Try out anything, listen to it, if it sounds good, keep it. Music theory isn't how music should be written, but how it has been written in the past, and every rule has its own exception(s).
Even if it's not very good theorically or musically, if you think it fits well into the song, the feeling of the song or the message, then go for it.



I'm no theory expert but I think it's in C, IV = F, V = G, and Am being the relative minor.
#9
it's ultimately in C major... there are lots of ideas you can try:

try moving to some of the diatonic chords using secondary dominants to set up the chord movement i.e. use B7 -> Em7

borrow chords from the parallel minor key... i.e. try Ebmaj7 or Abmaj7

substitute minor chords for major... i.e. Fm instead of F

substitute dominant7 chords for major chords

try using slash chords/inversion/pedal bass notes

experiment with chord extensions - 6's & 9's, 11's etc

experiment with sus4 & sus2 chords

use chromatic movement to move between chords... i.e. C -> C+ -> Am
Last edited by inflatablefilth at Aug 8, 2008,
#10
i don't mean to sound ignorant, but how does an augmented chord fit into mixolydian as the III chord?
#11
Quote by sisuphi
i don't mean to sound ignorant, but how does an augmented chord fit into mixolydian as the III chord?

Yeah I was wondering that too?
i think he meant diminished chord since in G Mixolydian the diatonic III is B diminished.
Si
Last edited by 20Tigers at Aug 8, 2008,
#12
Yeah, if you're making G the root, the mode you'll use is Mixo and you're basically just using the chords from a C major scale - C, Dm, Em, F, G, Am, Bdim.
#13
Quote by 20Tigers
Yeah I was wondering that too?
i think he meant diminished chord since in G Mixolydian the diatonic III is B diminished.

Yes, B would be diminished, not augmented.
#14
Quote by evening_crow
you can substitute the C with an Em and add a D or Dm after the G maybe...
I like this suggestion. Seems like an original idea that may sound good (dont have my guitar with me).

You could also use any one of these chords: Dm7, Em7, maybe E7 if its played after that Am but before that Fmaj?, Fmaj7, G7, Am7, Bdim (which only really sounds good played before a Cmaj chord).

That Progression is indeed in C. The G-C movement is a perfect cadence, resolving the progression. If you play it more than once through you'll hear the resolution on the C.

I like tritone substitutions. If that G was a G7, you could play a Db7 instead. This still moves well to the Cmaj chord.

I also like the secondary dominant idea.

I sort of like the N6 chord idea. Just remember that N6 chords (if you dont know how to build them, give them a wiki) are predominant chords, meaning you should play them before a dominant (G in this case) chord.

What I would do is I would first rearange the progression to start on C. I would use an E7 after Am. This makes a sort of minor movement, which still sounds great moving to the Fmaj. And I would substitute the G for a Db7.
This leaves us with: C, Am, E7, Fmaj, Db7
I know most of you are probably thinking that Fmaj-Db7 would be awkward, but it isnt, especially if voiced it right. I would voice both chords like this:
C-B
A-Ab
F-F
C-Db
Personally, I like it when the voices of a chord are only moving by 1 or 2 semitones. To me, the fact the voices are moving down by a semitone only helps the resolution on C.
        ,
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[U]     | \|_ |     |     .-|      [/U]
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Last edited by demonofthenight at Aug 8, 2008,
#15
Quote by rossjohnson87
It's forms of G-C-Am-F...anything else that can fit musically?


Ppl have gven you enough ideas with progressions and key modulation ideas.

To add more flavour, extend the chords:

6
6/9
min 9's
maj 9's
maj9#11's
min 11's,
maj13's,
maj13#11

That'll make a lot of difference. I'll assume you know about chord construction....?
Last edited by mdc at Aug 8, 2008,
#16
Sorry, dimished.
Those with closed minds bring on themselves nothing but limits.
#17
Quote by lumpy890
Sorry, dimished.


^ Never heard of that kind of diminished chord
#18
You know, I wouldnt really want to use a diminished chord in a modal song anyway. They have a tendency to want to resolve to the chord a semitone above, which is usually the I chord meaning a major based song. This ruins the modal effect, you dont want to resolve to that chord.
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.