Best chord progressions ever

BORINGGGGG.

Get some creativity for fucks sakeee!

Dumb child.

I - IV - V - IV - IV - IV - IV - IV
IV - IV - IV - IV - IV - IV - IV - IV ...

E5 Gmaj7 Ebmaj7 A#11 Dadd9

I III IV iv

Insolent baby.

i - i - III - VII - i - i - IV - VII

do yourselves a favor and think of progressions in scale degree form instead of actual chords

No.

C, G, Am, Am/G
F, F, C, G
C, G, Am, Am/G
D7, D7, Ghe, G7

C, C, C7, C7
F, F, D7, D7
C, G, Am, F
C, G, C, C

*while Travis Picking A, G, D then B strings followed by E G, D, B strings

-Bob Dylan, Don't Think Twice It's Alright

It's my go to chord progression when I don't know what to play.

E - E# - B - B#

can a progression be any more based than this?

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C/G Csus4/B Am Am/D

just write F and C you dingus

Theorychads give me good C lydian progressions

Em - C - Em - C - Em - C - Em - C

Throw in a G and finger picking and that's Selena Gomez - Back to You.

C D Am/C Em/B

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Asus4addb11add13 - G

based, and jazz pilled

theorylets absolutely seething they cant understand this thread

someone give me a nice locrian progresion.

Sounds too normal, give me some sevenths and sus chords like a real chad

I-iii is objectively the best two-chord chord progression

>not writing first a chromatic melody and then find and shift between appropriate scaleS and chord progressionS and make it work
I guess you kids need to start from ABC everytime...

how's this
Cmaj7/G Ab7/Gb (#5) Gmaj7/F# Amin7/E D7 C(add11)

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here, I made this one up just now
Emaj7 - Amaj7 - B13 - Cm^6#5 (passing) - C#9sus

I think I figured out why some guitarists sound so bad.

When you play a lot you get used to all the normal building and releasing tension then you need to up the anti by playing even more dissonant sounds. Then with guitar solos the people play even more dissonant and unexpected sounds.

The end result is chord progressions like that and Marty McFly from Back to The Future.

I'm a musiclet, someone vocaroo every example ITT.

No u

fuck you and your trips

Here's Don't Think It's Alright from here vocaroo.com/i/s0fSy4muqO1Q

And Back to You from here vocaroo.com/i/s16idAmVz6WK

Because it's so late I tried to relearn Don't Think It's Alright on my classical guitar then when I went back to my electric I fell into mistake hell. But Back to You was better. I also because it's so late I had to turn my amp way down, but then when I turned the volume way up in Audacity it had a cool lofi sound to it.

Thanks, I appreciate it
fuk u

Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7 | Am7 D7 |
Gmaj7 Bb7 | Ebmaj7 F#7 | Bmaj7 | Fm7 Bb7 |
Ebmaj7 | Am7 D7 | Gmaj7 | C#m7 F#7 |
Bmaj7 | Fm7 Bb7 | Ebmaj7 | C#m7 F#7 |

Here's an example of a I vi IV V in C major (C-am-F-G) with some extra flourishes thrown in. It's a really simple one but it's important to know and it was definitely one of the most common in the 50's and 60's. Areoplane over the Sea is a pretty classic example of it as well

Forgot the link

vocaroo.com/i/s0bFgyNxXemM

you now understand why people are still listening to and performing Bach

Reminds me of Back to The Future: youtube.com/watch?v=vPrPfkT82Pw

But then you'll move onto Jazz once you've listened to enough Classical. So there will always be a disconnect between aficionados and casuals. Basically if you play enough you're ruining any hopes of mainstream appeal.

Yep, that's an example of I vi IV V

Amaj7sus2 - A - E

>if you play enough you're ruining any hopes of mainstream appeal.

hate to get all classical on yo ass again but surely Mozart would have had trouble hacking out the Magic Flute if this were the case. my view is that at a certain point you accept that applying limitations to yourself can actually be a spur to creativity.

>chord progressions

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C F6 G7 C
Am D G Cmaj7
Am7 D7 G Edim7
Dm Ddim7 C Fmaj7
Dm7 G7 C C7
Fmaj7 F#dim7 Cmmaj7 Fm6
G7 C G7sus4 G7
F#dim7/G C G7sus4 G7
C7 / / / F / F6 / G / G7 / C

This
Chads do counterpoint

=

Dm7 - gm7 - c7 and am7 for good measure

> =

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>retards in this thread not using scale degree form
Stop pretending

It's easier to write color / chromatic notes. scale degree form is better for functional harmony analysis

G Em C D is the only progression you'll ever need

E-G-D-C

WHAT A BEAUTIFUL FACE

What? Speak English

Bm G F#m F#
im addicted

dun dun
dun dun
but im a CREEEEEEP

I VI7 ii V
Bb - G7 - Cm - F

haha at least someone got the reference

Pleb thread. Learn 2 jazz.

VIm7 - bIII/bVI - V7#5 - Imaj7.

corny ass nigga

A A A A A A D D

For me it's I-bVII-IV

youtube.com/watch?v=rFoop72chM8

That unironically sounds boring

for me it's the andalusian cadance

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That thing sounds exactly like what a gigachad would play

Don't be plebs, use degrees please

Pfft diatonic music is so plebeian

E-D-A
GLOOOOOORIAAAAAA

>plebs who don't know roman numeral analysis

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A-E-A-E
Is this I-V-I-V?

Yes
It's pretty easy if you already know your chords and scales

D G Em9 A

> roman numeral analysis

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I - iii - ii - IV - V

Am G F G Esus4 E
F C E Am F Esus4 E

>tonality

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r8 me
Gm- Edim- F- D7

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I love this thread

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I - IIIsupermajor - IV - vi subminor

Specifically in 19edo

Same, gives me a modicum of hope for Yea Forums

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>supermajor subminor
isn't that an interval and not a chord? and how do you build a chord with a supermajor interval?

Dm - A# - C# - Dm

Major chord is a root, fifth, and a major third. Minor chord is root, fifth, and a minor third. Replace the third with a supermajor/subminor third. In some tuning systems, you also get neutral intervals.

There's other microtonal stuff you can do with chords too. In other tuning systems you can extra harmonics like the 7/4, 11/8, and 13/8 that can be added to chords too. I know Brendan Byrnes loves using 11/8 in his chords.

C D Bm7(flat13 for chad status) C

Em7 D Dmin7 C

Am7 (walkup to C using this Bm7->) Bm7 C Em7 D(Dsus4->D if ur giga chad) (also this is dorian but i like it)

C D G Am7

Bm7->B can be a nice cadence to lead back into root C

C Bm7

C D F#m7b5 Em7

SMACK DAT #4

Wow those are some giant chord steps there hehe

Which Steely Dan song is this

based and 1950s pilled

interesting, thanks
I think 7:4 appears in the tuning of La Monte Young's Well Tuned Piano

What do those 7/4 11/8 things even mean? Tfw theorylet

Dm - C - Am - F
>youtube.com/watch?v=YzSXSo3dTHU

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Most consonant notes are simple frequency ratios. Octave is 2/1, fifth is 3/2, third is 5/4. Adjusting for the octave and inverting these give you the fourth and sixth. If you can find a simple frequency ratio, it'll probably sound pretty consonant as an interval or in a chord, even if you've never heard it before.

Problem is that tuning systems based around exactly representing these intervals run into tons of practical problems.

So most tuning systems are just some way of approximating these intervals while keeping things pragmatic. 12edo is used because it has few notes (cheap instruments) while it exactly represents the octave, almost perfectly represents the fourth and fifth, and has something that vaguely resembles the third and sixth. Anything beyond that is nonexistent in 12edo pretty much.

Other tuning systems let you approximate other intervals better.

>the virgin OP vs the CHAD 1-6-4-5

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isus2 bVII6 vim7b13 bVII6

bVImaj7#11 vim11b13 bVII6(9) vim7b13

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B7 F7 Em7 G9 Bsus2 E11

amaj7 dmaj7 d

Gmaj7 Bm7b5 Am7 F#dim D13b9

Im such an autist i had to try every one of these with my guitar

What are the best?

>implying i'm gonna post my super secret riffs for Yea Forums(nel) nerds to rip off

F a g

Lol

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Yes it is better

Absolute chordlet here
So have you all just memorized what each chord sounds like and are able to understand how they all intrinsically sound or do you have to go to your instrument and pound them out to see?
I’m guessing from this is the case, it means you’re spent collective years pounding out chords to know what they sound like on sight

>F a g
files.catbox.moe/6i46pf.mp3
So this is how it feels to be a Fag... not too bad desu

Not sure if this is what you're asking, but each "type" of chord has its own formula. For example, all major triads are just the 1st, 3rd, and 5th notes of the major scale. In other words, the space between the notes of each major chord is identical, whether it's a E chord, an A chord, etc.

Same goes for scales, which are what chords are derived from. Every major scale has the same formula/distance between notes. What I'm saying is that all you really have to do is learn some chord formulas (which are super easy), know your scales, and you're on your way. Learning the patterns scales/chords follow really makes learning them a ton easier. I'd also recommend learning how different scales are related to one another.

On guitar, it's even easier because if you're lazy, you can just use barre chords, learn the different shapes/inversions, and then move your hand up and down the fretboard. That way, if you're a theory slacker, you don't even technically have to know which notes you're playing.

Final point: most people don't have "perfect pitch," but pretty much everybody is capable of getting a good sense of relative pitch. That means you can learn to recognize what different chord changes sound like, regardless of the key. That's the part I had to spend a lot of time plunking around on my instrument to learn. Once you get a good feel for what chords sound like relative to one another, you're golden. Doesn't matter which key - it's all relative (which is where the roman numerals come in). Hope that helped.

nice

A C
D C

ii I ii I ii I ii I ii I...

bump

Basically you analyse the genre of music that you want to create and learn about what chord progressions are used in the genre, how they are used, why they are used, and then you'll know ways in which you can subvert them a little to sound more original

while u music smarties are here can u tell me the chord progression of this song

youtube.com/watch?v=6sROpqMFodE

The beginning part/refrain riff goes D-Dmaj7-D7. There's a b minor later in the progression too. I'll post again if I figure out the rest of it

human music, i like it

you mean I-V-vi-IV

much appreciated you lovely human

>muh 7s
cringe

That's exactly what said

legitimately sounds gay as fuck

What about G a e?

The real fun with microtonal temperaments is when you play really wild extended chords.

You're missing out if you don't use minor major 7th chords.

That is Moving by Kate Bush isn't it OP?

youtube.com/watch?v=YSOACab2t7k

Mesmerizing chord progression indeed

I feel like it's my mission in life to exclusively write extremely weird and convoluted chord progressions that no one has ever used before.

good lad

shitass

Gm9
Gdim7
Am7
Dm7

Bdim - Em - F - Em
or
Bdim - Em - F - Bdim

I seem to be unusually good at it for some reason.

youtube.com/watch?v=C4bVKXCvmPc

Give us something user

FmM7, F#m7b5, F7, F#mM7, F#7sus2, C6/G, Am add9, CM add9, A7/C#, Dm add9, B7b5, D7/C, DM7, D#dim7, FMb5/C, B6b5, F#M7/A7, D#m6/A#, Adim7, G#m6, GM7, D6/F#, F#M7...