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I think trance music and music theory can go very well with each-other. I'm willing to bet that the coolest melodies you hear are ones that use theory. Cause the really interesting shit is hard to figure out by ear. I doubt you're gonna accidentally stumble onto a pivot chord or a secondary dominate.
| quote: | Originally posted by Sonic_c
Where chords can go!
I (Tonic) Can be followed by any chord
II (Supertonic) Can be followed by V,III,IV,VI, OR VII
III (Mediant) Can be followed by VI,IV,II,V
IV (Subdominant) Can be followed by V,I,VI,II,VII
V (Dominant) Can be followed by I,VI,III,VII
VI (Submediant) Can be followed by II,V,IV,III
VII (Seventh) Can be followed by I,VI,III,V
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It looks more like this,
I/i (Tonic) Can be followed by any chord
ii*/ii (Supertonic) Can be followed by IV/iv,V,vii*
iii/III (Mediant) Can be followed by VI/vi,IV,I/i
IV/iv (Subdominant) Can be followed by V,I/i,
V (Dominant) Can be followed by I/i,VI/vi
VI/vi (Submediant) Can be followed by ii/ii*,VII/vii*,IV/iv
VII/vii* (leadingtone) Can be followed by I/i
It's important that you get the cases right cause that means a lot. It shows that you are talking minor and major. Cause you don't want all your chords to be in the same quality (IE all in major or all in minor). That's where the beauty comes in is switching the qualities around. If a track is in a minor key, that doesn't mean all the chords in that tune are gonna be minor.
| quote: | Originally posted by Sonic_c
Ok so if just using standard 1 4 5 4 2 3 1 prog is boring how can we spice it up? These second chords tell me tell me!
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Okay secondary chords are a bit hard to grasp at first, but they are the most awesome thing in music.
You're progression, i iv V iv ii* III i. First off, you shouldn't end your progression with a III to i. I'm gonna change it to V i instead of III i. Anyway, let's add some secondary chords. We need to know what key we're in, let's say A minor.
So, that progression translate to this: A minor, D minor, E major, D minor, B diminished, E major, A minor.
Okay so first you gotta understand cadence and dominate functionally. I'll give you the crash course. V goes to I/i, take my word for it.
So what if we used that to our advantage? Well notice how I ended our progression with V i, that's a cadence because it sounds like it belongs. Just take my word for it. The V of A minor is E major...
Well what if before we got to that chord we used the V of V to add a extra pulling sensation. Let's move over to the key of E major temporary. And now let's just for a moment make E major the tonic or I. What is that V of E? It's B major. Now that we have that lets stick it in our chord progression.
A minor, D minor, E major, D minor, B diminished, B Major, E major, A minor.
The motion from B major to E major is really strong cause we "borrowed' a V-I cadences from another key, that's why it's called secondary. The effect becomes even stronger if we make that chord dominate7th.
A minor, D minor, E major, D minor, B diminished, B Major Dominate, E major, A minor.
How do you make a chord dominate7th? Add a 4th note. So you'd just stick a "A" in your B Major chord to give it a Dominate 7th sound.
Wow, I talked for a long time, and that was like 2 years worth of theory knowledge so it may sound like UHehkluetiharhiurureajhkregakhljr. I hope you liked it.
I like helping ppl learn music theory cause i truly think it makes our music sound better.
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