Creating Chord Progressions
So let's talk about creating chord progressions so we're going we could take these triads and seven nine cords and all that and then let's put it into something so it all makes sense um so with court progressions you know if you know the patterns that we talked about it makes it a lot easier to kind of make or progressions especially if you're trying to do contemporary music or something that kind of like makes sense then you learn these patterns of like ok it's the triad this is the seventh this is the ninth you know all of that then it makes a lot more sense and becomes a lot easier if you don't have a background in music understanding chord progressions I listed a couple of the most most common some of the common ones that you we'll hear out there in most western music so we're talking about the numbers earlier so this is where that comes in handy for cords so this relationship was based off of the root note um and so if let's say I want to play that one four five this is our route ...
so anywhere I want to play the one I could do that with the triad now for one to play the four I just move the triad up to the four so four and then five it is really common then we have a two five one e s so that's aa lot of jazz uses that you're not a different side use that aa one four five one so theo and the reason I'll point out these some of these are lower case in somewhere every case the uppercase ones are major chords the lower case ones are minor and then if you get further into it some of them are diminished as well they'll have a little circle and if you go online so I put a little length down here in the notes if you buy this and download um there's an article that I referenced that wikipedia article that goes through a bunch of common chords the history of cords some of the cords that um some of the songs that use these cords um you'll be amazed it like how many different songs use the same core progression also there's uh four chords by axis of awesome they run through way too many songs that you've heard probably from, like two thousand two thousand ten that we're all using the same chord progressions they might have been in different keys which is something that point out but if you transpose them they will all fit because they're playing the same progression uh so I guess to say with with that as well about uh the key is is that the great thing about like the national numbering system and this is like you are once again focusing on the relationship of notes and not really on like what chord you play which means if you let's say you do show up with a push to your friends jazz gig and he's like hey man daddio we're playing that's very I'm sorry jazz people uh out of sight uh we're we're playing a one for five and then we're going to go and play a group that's two five one and then we're gonna jam on that you know ok, well what care you and they'll just say we're playing to five one e u know ok hee and when people say e that usually means major so I couldn't just go to major on down he said e and then you're good and then you said you like all the two five one and you're good to go with that and so it makes it really easy so let's make a little core progression here make sure my metre gnomes on um let's see to the five I'll do the five four five one and we turned fixed off press it again teo move it if you see the the core progressions really simple I'm playing very simply but uh you don't have to just like play whole notes the whole time you know you can jazz it up or spice it up you can play the note and then use your knowledge of the deep had that kind of improvise after that so do you on that still fits within the progression that we're doing but it adds a little bit of embellishment so you can embellish as much as you want um and I can actually come back in here what's the um I can add like a seventh to that so what was that playing? Um second a notes back in aiken overdub on top of it I pressed him really hard on that and it's really early s o may just do that one over so I can easily just overdub records still on and I can add more notes and go further so if maybe you can't make all those shapes you can come in one by one and put them in a swell so yeah that's how you can make cords really simply you know know your triad you're try out your seven court your ninth suspended once you know those you kind of a little bit to work with and you can start playing chord progressions and you just hit record make sure you have the metro nylon that's always important player progression hit record again to stop it or if you want to you can hold down fixed link set you know I want to do a four bar progression I don't have a good concept of time so I'll let it like tell me when to stop um or if you get I remember I first started in live I got really nervous painting the record button and then, like trying to get it toe loop, I would get, like, really scared that it's kind of a drummer, and they were like being a band. First time you have to, like, play a phil, you're doing this. You're like, cool. I've got this. And then now I need to go around the kit and you get really nervous, and you kind of look, so some people get nervous, like I got a hit record, and then in four bars, I'm gonna have to hit it again. And what if I hit it at the wrong time, just to fix length, and you won't have to worry about in that? You'll be good to go.