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.

Last edited by RichieV on Jul-11-2006 at 21:08

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

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

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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.

Last edited by RichieV on Jul-07-2006 at 02:09

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

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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.

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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?

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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.

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