anyone know anything about chord progression.... or voice leading? for ex. where does the second chord's root come from?
Hm, I hope I understand the question right, or I'll feel like a total dork. In classical composition, the "rule" is to move your voices as little as possible when changing chords. For example, if the progression is C to F, you'd go (CEG) to (CFA) ... that way, the C stays the same, the E moves only a half step, and the G moves only a whole step. I could get into it further, but I'm not quite sure if I'm being a dork or not.
It really depends on if you're talking classical music or what here. Yeah moving as little as possible is a big part of it...but even more it's usually all root position. There are certain rules for 6/4 chords and 6 chords. Sevenths are rarely used when you're really getting started. For a progression that almost never fails move either up by a 4th or down by a 5th until you get a cadence at the end. Other than that...try your progressive movements. There's one to anything else. Then, down by third, up by second, or up by a 4th...the opposites work also. Up by a 6th, down by 7th, down by fifth. Smooth voiceleading is definately part of it. Never want to move awkwardly...more than a third...unless avoiding parallesl.
voice leading? anyway if there was a simple formula for good music then everyone could write it. find the progressions that sound right!
Your chord progression depends on the effect you want to acheive. A typical progression is I, IV, I, 7. For example, "CEGC," "CFAC," "CEGC," "BDFG." I would suggest you look up a beginner piano book for more examples.
Yeah, there's definately not a formula to write good music...but the rules I gave the guy were to avoid writing bad music. There's a difference. If you use mostly progressive movements or 4th movements you really won't get a bad sound. It won't be as interesting, but you have to understand the basics before you can go beyond that.
yeh. but once you learnt the chords more you can get good sounds from a progression where none of the chords are in key
No kidding. Learn the basics... study Baroque music (Bach, etc)... maybe even write something in that style (I-IV-V cadences). Then after you've learned to appreciate structure... BREAK ALL THE RULES.
I dont think that is exactly true, they will be part of some key/keys. If you just throw unrelated chords together you just get unrelated chords, not a progression.
sorry for my vague exagguration. but most keys have no place or acceptance amongst the general community. i mean, ANY set of notes is a key. but its something to aim for anyway hehe
im kinda getting wut ussguis are sayin, i think i am at least. So can i go wrong with a IV or V? since those are perfects? Also if anyone posses these answers... Are certain progressions distinct to Folk or Jazz styles of music... I've read/heard that Folk is kinda simpler/primal
Yes, certain progressions are distinct to different kinds of music. Folk typically uses a modified blues progression. Jazz either uses a jazz blues, rythm changes, or one of the many invented for it. one of the most common cadential progressions in Jazz is a ii V I , sometimes extended to a iii vi ii V I. Jazz also uses more than the basic triad, adding 7ths and 9ths onto chords. Any combination of notes is not a key. It must meet certain criteria. I dont remmeber what they are, but, the only keys are really major and minor (12 each) They all have the same mathematical relationship.
using chords that dont reside in the same key is called atonal music (or chromatic...but thats different). atonal is used in alot of metal and punk. they are still a progression. if you like somthing you make up that way write it down and memorize it, thats called a synthetic scale
