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Best chord progressions!


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Hi.

I like chord progressions, and making ones up, so I was wondering if anyone makes them up, if so post them here in midi form, and say what the chords are. Try be original, make up strange ones that are interesting. Here are two of mine.

The first one goes Cm, D7, Bb half dim, C+, Cm, D-, Cm, GM.

The second one goes Cm, D-, D7, G7, F#dim, Cm, Eb half dim, G7.

Chord 1.mid

Chords 2.mid

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I think, even more important than just the chords themselves is how you voice the chord--what inversion does it take, what's the spread, and which instruments play which notes. I've heard chord progressions that, when played on the piano in root position, are very boring and dull, but sound fantastic when certain composers score them just right.

However, one of my favorites that I came up with (not counting my jazz tunes) goes: Am F Em Cadd9 Gsus4 G D Used it in a movement to my first symphony (still very much a work in progress).

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HELL NO! This is the theme I'm using in my symphony! IT'S MINE!

Bah...there are so many things one could do with a chord progression, though. If chord progressions themselves were such a big issue of copyright infringement, then there'd only be one or two pop songs ever: C G Am F or C F Dm G

...Except for Nickelback, which would exclusively use C Bb F G It's just not Nickelback unless it's got that Subtonic VII chord.

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Guest FPSchubertII

It's still mine! Unless you incorporate it in an entirely different way; my way is consecutive, I don't linger on each chord very long.

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Hi.

I like chord progressions, and making ones up, so I was wondering if anyone makes them up, if so post them here in midi form, and say what the chords are. Try be original, make up strange ones that are interesting. Here are two of mine.

The first one goes Cm, D7, Bb half dim, C+, Cm, D-, Cm, GM.

The second one goes Cm, D-, D7, G7, F#dim, Cm, Eb half dim, G7.

* Cm, ddim,D7,g7,F#dim, cm 6/4 (a must for me), **Eb** mabye G for me.

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ok, mmmm, chord progressions exist, period... the differences are: what voice leading we use, what colour (instrumentation and pitch displacement), tempos and rhythms...

of course there are progressions that might not be common, but they can be explained by theory, therefor is not something we "created"... we just "discovered"...

someone asked about Inversions... well... inversions flow according to the harmonic movement.. avoiding parallel 5ths or octaves, or parallel motion in all voices will lead us to write a good chord progression with its inversions...

here

example_voiceleading.MUS

example_voiceleading.MID

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  • 3 weeks later...

This obsession about chord progression is a result of the almost exhausted melodic resources of the very limited number of modes in Western Classical music. In homophonic compositions, melody guides harmony, and not the reverse. In polyphonic composition, it is the interweaving of melodies that creates the sound so typical of Bach or Vivaldi. If anybody has to create something new, he or she has to look for entirely different traditions of music for new melodies, think in terms of non-traditional orchestral instruments - there are dozends of them - for new sound color, apply new rhythms, new articulations and new vision.

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  • 4 years later...

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