| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 1069.1 | like I have | ANGORA::JANZEN | Tom LMO2/O23 DTN296-5421 | Tue Dec 15 1987 17:25 | 5 |
| >Does anybody have any kind of comprehensive list of the most
>common chord progressions...
I posted a bibliography music theory here once. Read all the books
in it.
Tom
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| 1069.2 | | ECADSR::SHERMAN | Correct as always, King Friday ... | Tue Dec 15 1987 22:35 | 3 |
| Books I got. Thanks anyway.
Steve
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| 1069.3 | a small nutshell | FROST::HARRIMAN | How do I work this? | Wed Dec 16 1987 08:28 | 35 |
|
But you should *read* the books.
Do you know the circles for fifths and fourths? Are you familiar
with the concept of whole step/half step in scale theory?
Two fundamentals in understanding chords, believe it or not.
Progressions like the I-IV-V-I are common. So is II-V-I, I-VI-IV-V,
and others of that ilk. That is only assuming one key (the tonic).
Modulation (change of key) causes the "base" to shift, for instance,
the II in II-V-I is actually a V of V.
Where the whole-step-half-step stuff comes in is in understanding
where (some) forms of music progress. Consider a C7 chord. The B-flat
in the C7 wants to resolve to the nearest half-step (why? you ask...)
so it can move to either the G major (huh?) or the F major (ahhh).
So it's either a V-I progression or it's a II-V (or V of V-I).
The expressions A-B-A-B-etc refer to phrasing, not progression.
When discussing forms of music, one may refer to sections of musical
themes (as opposed to progressions). Since they may sound similar
(for instance verse instead of chorus) one can express the form
of the piece by abbreviating the themes to unique letters (for
instance, A-B-A-B-C-A-B-A-B refers to the form of most any commercial
rock tune with verse, chorus, and a bridge in the middle).
I would suggest that you read any material on the subject - there's
a lot more than I'd care (or have the time) to write and it's written
better within the books anyway.
Hope this helps a bit?
/pjh
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| 1069.4 | classics | INK::BUCKLEY | Street Lethal | Wed Dec 16 1987 16:02 | 8 |
|
What about I-VI-II-V?
or the I-, I-#5, I-6, I-#5
I-, I-maj7, I-7, I-6 cliche's
wjb
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| 1069.5 | Theory for Some, Practice for Others | DRUMS::FEHSKENS | | Wed Dec 16 1987 16:56 | 11 |
| You can always count on Tom for helpful advice.
Theory's nice if you have the time, but there are people out there
who just want cookbooks.
You can always count on Bill to be really helpful.
More recipes, please.
len.
|
| 1069.6 | Thanks | ECADSR::SHERMAN | Correct as always, King Friday ... | Wed Dec 16 1987 23:45 | 13 |
| Thanks for the replies, so far guys. Really! I've been looking
at a couple of theory books, but haven't seen any short listing of the
most common sequences and phrasings. So, I thought I would check
it out with y'all. It's not that I want to use them so much as
it is that I want to *avoid* them. There just seems to be some sort
of unwritten set of stuff that 'everybody' knows is common and
over-used.
Steve
(BTW - I've looked at 'Music In Theory and Practice' vol. 1 & 2
by Bruce Benward in particular and some others)
|
| 1069.7 | Every Chord Progression You Will Ever Need? | AQUA::ROST | A circle's not invisible | Thu Dec 17 1987 10:01 | 25 |
|
If you want some to avoid, how about:
I - VI - IV - V as in "The Last Kiss", "Stand by Me", etc.
V - IV - I as in "Sweet Home Alabama", "Turn the Page", etc.
IIm - I - VII as in "All Along the Watchtower", "Stairway to Heaven",
etc.
IIm - I - VII - VIm as in "Hurricane", "Breakdown", etc.
I - VI - II - V as in "Alice's Restaurant", "Keep on Truckin'",
etc.
I as in most John Lee Hooker tunes 8^) 8^) 8^) 8^)
|
| 1069.8 | | SALSA::MOELLER | good credibility.. really ! | Thu Dec 17 1987 13:20 | 3 |
| don't forget to miss this if you can..
IIm V I (jazzer's 2/5/1 'pockets'- blecchh)
|
| 1069.9 | | ECADSR::SHERMAN | Correct as always, King Friday ... | Thu Dec 17 1987 14:04 | 3 |
| Yeah! Thanks!
Steve
|
| 1069.10 | | ANGORA::JANZEN | Tom LMO2/O23 DTN296-5421 | Thu Dec 17 1987 15:35 | 3 |
| don't foroget the Petroushka chord, C major superimposed on F# major
triads
TOm
|
| 1069.11 | everything should be I-IV-V like Louie Louie | SRFSUP::MORRIS | To live and die and breathe smog | Fri Dec 18 1987 20:53 | 22 |
| any chord can always go up 1 (I - II, viio - I.....
I can go to II, IV, V, less preferably vi
II (ii) can go to IV, vi, V, less preferably viio
III can go to IV or VI
IV can go to V, vi, I
V can go any where, usually viio, I, II
VI can go to IV, viio, I
vii can go to I
There, I think I remember my Piston Harmony rules.
Of course, these rules are made to be broken, and when
you're dealing with +7 and +9 and +11 and +13 and so on
the rules change......
Ashley (Aeolian minor over phyrigian Neapolitan Third) Morris
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