quote:

Originally posted by Sonic_c Actually cryo richie? where would you take that little progression? it sounds unfinsihed and i dont know how to trance it up a bit lol for want of a better phrase.

well for one it doesn't sound in D minor. The inverted C sounds like a dominant chord missing the Bb ( just fill that that in as a passing tone) to Fmajor. You could go G minor then Dminor then back to C major but root position.

so it would be

vi V(6) I ii vi V in F

pretty standard.


again the concept of keys depend on the style of music and are just really landmarks to navigate chords. Because something starts or ends on a dminor chord, it doesn't have to mean it is in dminor. Your chord progression chord of been in C major, A minor , F major , D minor , G minor .... 3 chords is generally not enough to really scream any particular key unless it is ii V I or IV V I

Last edited by RichieV on Dec-07-2009 at 16:41

Basically you need the right sound for the right melody. One of these are easy to do, but both together requires a bit of skill, experience and good amount of luck.

I can honestly say that every good track i have written has been pure coincidental.
There are moments where i complete a track with just "skill" but they never beat the accidental ones.

With that said, the only way you can ever get lucky is to keep working, keep trying, those who dont play doesnt win.

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quote:

Originally posted by RichieV

Hey Richie, may i ask you something i have this chord progression i love to use, to me it sounds like one of the more used progressions but i cannot find anything that suggests that this progression is common.

It goes like this:

i-IV-VII-v

CD#G G#CD# A#DF FG#C

What would u say about this progression, is it correct and do u know tunes that uses this progression ?

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quote:

Originally posted by Subtle It goes like this: i-IV-VII-v CD#G G#CD# A#DF FG#C

That's actually a i-VI-VII-iv progression in Cmin. In others words (letters?):

i = C Eb G
VI = Ab C Eb
VII = Bb D F
iv = F Ab C

Not an uncommon progression at all. As far as being "correct", there is no such thing - if it sounds good, it is good.

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quote:

Originally posted by cryophonik That's actually a i-VI-VII-iv progression in Cmin. In others words (letters?): i = C Eb G VI = Ab C Eb VII = Bb D F iv = F Ab C Not an uncommon progression at all. As far as being "correct", there is no such thing - if it sounds good, it is good.

Yes VI of course, the progression works wonder for me, one of the few progression i like that has a certain happy sound to it, probably due to the two major chords in it.

Know any tunes using this progression ?

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hundreds of pop songs

Thanks guys,

The reason i got confused is if you start c maj on the ii (D) and play all the white keys like c maj is that D dorian or C dorian?

And I originally thought that I was going i,ii6,III but then true ii6 would have c# in not c

Then i thought I was going i,VII,III in D dorian or Cmaj starting on D

is that really hard to understand i cant explain it

Thanks again guys ill try it all out tonight

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quote:

Originally posted by cryophonik Not an uncommon progression at all. As far as being "correct", there is no such thing - if it sounds good, it is good.

It is correct because it has four chords and as long as he plays those chords every one bar with no overlapping(!), then Skittles the unicorn won't get AIDS.

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quote:

Originally posted by dj_alfi change your avatar for fucks sake.

quote:

Originally posted by Beatflux It is correct because it has four chords and as long as he plays those chords every one bar with no overlapping(!), then Skittles the unicorn won't get AIDS.

Of course it is correct, was just if it was correctly written.

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quote:

Originally posted by Sonic_c Thanks guys, The reason i got confused is if you start c maj on the ii (D) and play all the white keys like c maj is that D dorian or C dorian? And I originally thought that I was going i,ii6,III but then true ii6 would have c# in not c Then i thought I was going i,VII,III in D dorian or Cmaj starting on D is that really hard to understand i cant explain it Thanks again guys ill try it all out tonight

C dorian would have Eb an Bb. In D, you would have B natural. Even if you have the C#, you would still have the Bb or A acting as a V or dim7 to i. And it would typically go to i6 where it goes to III ( which again is totally fine but not as standard)

quote:

Originally posted by Sonic_c Then i thought I was going i,VII,III in D dorian

That's the way I interpreted it. You originally had:

Dmin - Cmaj/E - Fmaj

Which is i-VII6-III as you pointed out in the key of D (Dorian or minor). But, RichieV interpreted it as a vi-V6-I progression in Fmaj. Both are correct, depending on the context. If the song wants to resolve to the Famj (as RichieV is hearing it), then it's in Fmaj and given the short progression taken out of any context, that's likely what it would sound like in isolation. But if it wants to resolve to the Dmin chord, then you're in Dmin or D Dorian. You stated that it was in D Dorian, however, which as RichieV and I both indicated, would be determined by the use of a B-natural, rather than a B-flat (Bb) in the song. So, it's hard to tell based on the lack of context which is correct in this case. Maybe you have a melody in the song already - does it use a B-natural or Bb?

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the thing is that if you do have it with the B natural, it sounds like a neapolitan 6th( the passing tone) going to a dominant 7 on F# going to Bminor or , B major which in turn would make it the V of E which has the B in the first place making the original chord a minor E with an 6th added. Either way, without the C# , it doesn't really push towards D.

that is the fun in harmony and reinterpretation of chords. You can use loose organizations of chords as stepping stones to other chords and jump all over the place. I suppose this doesn't really sound trance ish but certain things here and there are suitable.