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chords for each key

for example im writing a tune in g mior is the any link or program book etc i can use to tell me what chords go well in that key

many thans maximlee

Learn music theory and there is no rules so you figure out what sounds good to you.

that is a way too open ended question

To make it simple

i suppose you can just use the chords built on the minor scale altho these are only a small fraction of the possibilities

i : G Bb D
ii6 : C Eb A
III : Bb D F
iv : C Eb G
V : D F# A
VI : Eb G Bb
VII : F A C

here are a few possibilities off the top of my head that will sound ok

i - iv - V - i
i - VI - iv - V - i
i - VII - III - VI - VII - i
i - III - iv - VI - V - i
VI - i - VII - III - V - i

there are alot of combinations without ever even touching inversions , applied chords and 9ths and 11ths. If you are really interested , you should get a music theory book. Will take all the mystery out of how to make a good melody with proper chords.

I think it would be easier to use a a key like A minor or C major and just transpose everything. That way you won't get bogged down with trying to figure out what is flat and what is sharp.

Since you are a theory teacher, I have a question. I am pretty well versed on theory, however, i write chord progressions a slightly bit different than the way strict music theorists do. tell me what you think. agree/disagree?
Ok, in your example above you wrote out some chord progressions based on a minor scale.

What I always do is first determine the major scale a progression is associated with. So, if it starts with and Am for example I will examine the progression and determine the relative major (this is quite easy and fast once very familiar with the common intervals in the major scale) and write the progression based on the relative major scale which is C. Make sense? So a progression goes say, Am-C-F-G-Am. I would write this as vi-I-IV-V-vi Also, since I know the major key and I know this first triad starts on the 6th interval I associate it with the Aeolean mode(relative minor) so I would call this an Aeolean progression. Thats how i look at progression theory. Personally, I think this is the way theorists should teach it. It should relate to the major scale just as chord notation and structure is based on the major scale. just my $.05

Oops, my mistake. that was 'channelsurfer' who was the theory teacher. hopefully he will see this post and respond

quote:

Originally posted by tecnolover It should relate to the major scale just as chord notation and structure is based on the major scale. just my $.05

i suppose it is a matter of preference. IT does simplify things to use a minor key if the majority of the cadences happen in the minor mode. Some chords in minor don't exist in the major mode and vice versa. Like lets say V in minor. That would be III in major with a raised 3rd which is an applied chord meaning it isn't part of the basic composition of like chords built on scale degrees. But ya , it is all related. I don't think there is a right or wrong way. What ever you find works best for ya .I think your way could work with simple harmony , but the second you start doing things that are a little more complicated , referencing a key from another is real cumbersome.

What theorists usually do is modulate to a new key if a cadence happens in that key. Otherwise you will end up with like V of V of V and it just gets complicated. I've used a lot of jargon alot of people probably don't get so sorry if i confused you .

In all honesty tho , modern composers don't use keys. I think with the expansion of tonality into the relm of atonality and the mix inbetween both , composers kinda just scraped the whole key concept because it just didn't matter anymore.

i know theory but when i write music i just say "fuck it" and write what feels right.

i wouldnt worry about this unless its a graded project

quote:

Originally posted by wizniz i know theory but when i write music i just say "fuck it" and write what feels right. i wouldnt worry about this unless its a graded project

what feels right tends to follow tonal music theory 99.0% of the time. Knowing theory helps you be able to just hear something in your head an know exactly what chords to use. Basically there is no guess work. There is no fumbling around with chords to see what works. TO me that is powerful.

IF you are only making trance music , then i don't think music theory is that important. You probably only use the basics anyways.

I think a pic of the Circle of Fifths would work well here.

quote:

Originally posted by RichieV Some chords in minor don't exist in the major mode and vice versa. Like lets say V in minor. That would be III in major with a raised 3rd which is an applied chord meaning it isn't part of the basic composition of like chords built on scale degrees.

Well the V you notated requires a raised 7th which is NOT part of the natural minor scale. Your notation is based on the harmonic minor, not the natural minor. For the natural minor it would be v (minor) would it not?

yes , but 99% of music in the tonal relm uses that scenario. So it is just a way of organising things to make it easier for western music

i think there are just different ways of teaching theory. The reason i chose this method after looking at many is that i find it tends to explain things alot more than other methods when you start doing more complicated harmony.

I do think your way has a benifit in making people realises all keys are related in one way or another.

I just started the chord chapter in my music theory book I just bought. It is blowing my mind.

Major chords
Minor chords
Diminished chords
Augmented chords
Chord extensions
Dominant sevenths
Major sevenths
Minor sevenths
Sixths
Ninths
Elevenths
Altered chords
Suspended chords
Power chords

I had no idea. It's all good information though. I just read half of the above list so far and it is quite a bit to take in all at once. I just need to use them and get used to them.

I just play in C or A and then use transpose function in my synth

Yeah, I'm a cheater... but I totally failed solfedgio in music school and opted for playing everything by ear. Got solid As and Bs for performance but my teacher didn't know I could not read notes to save my life until I was in my 4th year (out of 5). He nearly passed out.

To this day I can't bring myself to learn music theory... even though I have like 5 books sitting, waiting to be read and absorbed.

I reckon you can learn theory all you want but you have to feel the notes working, there's nothing wrong with throwing notes around to see what works well, that way you could as well stumble on something you never intended.

I haven't read any books/magazines on production, software or anything and it's working ok for me.

I do think you have to be musical in the first place though, too many people are far too technical these days and lose the flare of originality cause they're so textbook.

i think the problem with trance is that most of the guys don't know anything about theory and keep relying on the same chord progressions. Learning theory increases your harmony vocabulary enabling you to step away from the tired progressions everone is using.

if you want to make better music. Learn music theory. It will pay off.

quote:

Originally posted by RichieV what feels right tends to follow tonal music theory 99.0% of the time. Knowing theory helps you be able to just hear something in your head an know exactly what chords to use. Basically there is no guess work. There is no fumbling around with chords to see what works. TO me that is powerful. IF you are only making trance music , then i don't think music theory is that important. You probably only use the basics anyways.

ok i took ap music theory so i guess it just happens automatically. i know this stuff by heart for the most part. im not much use here, then... *leaves thread*

quote:

Originally posted by RichieV i think the problem with trance is that most of the guys don't know anything about theory and keep relying on the same chord progressions. Learning theory increases your harmony vocabulary enabling you to step away from the tired progressions everone is using. if you want to make better music. Learn music theory. It will pay off.

Exactly. I am reading a book on it now. I am learning a great deal. Knowledge is power. I really feel people that refuse to learn it are only hurting themselves. It's not that complicated to learn the basics.

I will say that while reading this book, I just want to learn theory and not how to read sheet music. Can someone give me a good reason on why I should learn sheet music?

quote:

Originally posted by David Adams Exactly. I am reading a book on it now. I am learning a great deal. Knowledge is power. I really feel people that refuse to learn it are only hurting themselves. It's not that complicated to learn the basics. I will say that while reading this book, I just want to learn theory and not how to read sheet music. Can someone give me a good reason on why I should learn sheet music?

well if you plan to broaden your horizons and make other types of music , getting the actual music on paper will help you understand what is going on as far as harmony and orchestration. Your ears are only so good. Having the music in front of you will really help you understand what is going on.

i guess it all depends. If you just plan to make trance all your life, then no i suppose knowing how to read music isn't that important.

quote:

Originally posted by RichieV well if you plan to broaden your horizons and make other types of music , getting the actual music on paper will help you understand what is going on as far as harmony and orchestration. Your ears are only so good. Having the music in front of you will really help you understand what is going on. i guess it all depends. If you just plan to make trance all your life, then no i suppose knowing how to read music isn't that important.

Thanks for the response. I would like to get into other music genres as well - limiting myself to only trance is not a good way to grow. I guess I am just used to working with MIDI (like most of us here), and I can see the notes for all the different instruments in each track.

Maybe I just started out learning the wrong way with modern software. I can easily, however, convert my songs into sheet music from within my host - Sonar.

quote:

Originally posted by David Adams Thanks for the response. I would like to get into other music genres as well - limiting myself to only trance is not a good way to grow. I guess I am just used to working with MIDI (like most of us here), and I can see the notes for all the different instruments in each track. Maybe I just started out learning the wrong way with modern software. I can easily, however, convert my songs into sheet music from within my host - Sonar.

i started that way too. I started out producing electronic music then got into making classical. But when you are doing like lets say a full orchestra score , using the piano roll just won't work. Its way too cumbersome. Sheet music is just easier to represent all the information. I only start using that method for more traditional types of music with alot of harmony layering and stuff like that.

quote:

Originally posted by RichieV i started that way too. I started out producing electronic music then got into making classical. But when you are doing like lets say a full orchestra score , using the piano roll just won't work. Its way too cumbersome. Sheet music is just easier to represent all the information. I only start using that method for more traditional types of music with alot of harmony layering and stuff like that.

Oh, I can definitely see why you would need that for orchestral compositions. They are just massive.

Take care,
Adam

quote:

Originally posted by RichieV that is a way too open ended question To make it simple i suppose you can just use the chords built on the minor scale altho these are only a small fraction of the possibilities i : G Bb D ii6 : C Eb Ab III : Bb D F iv : C Eb G V : D F# A VI : Eb G Bb VII : F A C here are a few possibilities off the top of my head that will sound ok i - iv - V - i i - VI - iv - V - i i - VII - III - VI - VII - i i - III - iv - VI - V - i VI - i - VII - III - V - i there are alot of combinations without ever even touching inversions , applied chords and 9ths and 11ths. If you are really interested , you should get a music theory book. Will take all the mystery out of how to make a good melody with proper chords. I think it would be easier to use a a key like A minor or C major and just transpose everything. That way you won't get bogged down with trying to figure out what is flat and what is sharp.

I'm a little confused.

The book I have lists all the Major scale based chords, but does not list the minor based chords.

For example, C Major chords are:

I - C
ii - D minor
iii - E minor
IV - F
V - G
vi - A minor
vii - B dim

What would the Roman numeral progressions be for a minor chord progression? The book also states that for minor chords progressions, the 'home' is the vi of the relative major scale. Does this mean that the 'home' of the C minor scale would be the A minor chord?

Can someone shed some light on my ignorance here? I'm really confused.

for minor key in lets say A

i - A minor
ii - B dim
III - C major
iv - d minor
V# - E major
VI - F major
VII - G major


notice how vi in the major mode is the same chord as i in the minor mode. THe progressions i gave above where for the minor mode.

Thanks so much, Richie!!!

Do you know where I can get a good list online of all the minor scale chords with the Roman numeral progression next to them? I would love to insert it in my book.

I'm assuming all minor scales are set up like:

i - ii - III - iv - V - VI - VII

Just like major scales are set up like:

I - ii - iii - IV - V - vi - vii

Is my assumption correct?

quote:

Originally posted by David Adams Thanks so much, Richie!!! Do you know where I can get a good list online of all the minor scale chords with the Roman numeral progression next to them? I would love to insert it in my book. I'm assuming all minor scales are set up like: i - ii - III - iv - V - VI - VII Just like major scales are set up like: I - ii - iii - IV - V - vi - vii Is my assumption correct?

with the ii in minor being diminished and the vii in major as well.That is usually indicated with a little o next to it.

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