Chord Progressions

[baristeve]

a minor five would just be a diminished.

ex.

Bb major=

Bb

D

F

minor 5=

Bb

Db

E

diminished=

Bb

Db

E

same thing. You're flatting everything but the bass note in everything....

I really like going from a minor suspended chord to like a minor chord. such as...

F minor suspended=

F

G

A

then to...

F minor=

F

Ab

C

or just F major F, A, C

or you could go add a flatted 7th in there and make it a minor 7...

F minor 7=

F

Ab

C

Eb

now THAT sounds cool.

But who knows.. i could just be one of those guys that pretends to know something about chord theory and just ends up making a fool of himself...

Edited April 6, 2003 by baristeve

[pitn0926]

a minor five would just be a diminished.

Yeah......I'm not sure so sure about that. The last time I checked, a minor V chord on Bb would include Db and F, not E (or Fb, which would be enharmonically correct). I think brassguymike explained the existence of the minor V pretty clearly, so I won't restate what has already been said. And I hate to sound picky, but the chord F Ab C# is merely a Db Major chord.

[baristeve]

but the chord F Ab C# is merely a Db Major chord.

uhmm, yeah i guess it would if you put the bass note as a Db instead of the 5th note which is tottally different.

ok.. let me explain my reasoning for the minor V thing.

minor= flatted 3rd, or in Bb's case... Db

V= flatted 5th, or in Bb's case... Fb or E

edit- ok my bad, i thought that the V meant that you flat the 5th, i just now learned that it means you build off the 5th.. my bad.

The last time I checked, a minor V chord on Bb would include Db and F, not E

uhmm, well, wouldn't Bb, Db and F simply be a minor chord? yeah.... it would...

Edited April 6, 2003 by baristeve

[pitn0926]

Well, this theory lesson is certainly getting way off topic. We should probably save this discussion for another thread. Just know that the minor v does exist and can be very useful for creating tension.

[brassguymike]

I really like going from a minor suspended chord to like a minor chord. such as...

F minor suspended=

F

G

A

then to...

F minor=

F

Ab

C

or just F major F, A, C

or you could go add a flatted 7th in there and make it a minor 7...

F minor 7=

F

Ab

C

Eb

now THAT sounds cool.

But who knows.. i could just be one of those guys that pretends to know something about chord theory and just ends up making a fool of himself...

Huh? A suspension holds on to or suspends a chord tone after the other parts have moved on to the next chord. All suspensions resolve down by a step. (If it resolved up by a step, it would be a retardation)

What you have described isn't a suspension at all. Let me give you an example of a suspension...

We'll keep f minor......

iv6: Db i: C----

4 Bb----Bb Ab

F F----

(edit..sorry, I can't get these to line up like I wanted. The 4 should be under the 6. The Db, Bb, and F should all be in a vertical line. The C, Bb to Ab, and F should all be in a line.)

(to restate, here's what pitches are sounding from the top down.... Db,Bb,F then C,Bb,F and finally C,Ab,F)

This is a second inversion sub-dominant chord going to the tonic with a 4-3 suspension. The tonic chord holds on to the Bb from the sub-dom chord and the resolves down to the Ab.

If you want more of a theory lesson, I just found this website http://www.smu.edu/totw/nct.htm

Edited April 6, 2003 by brassguymike

[Frak]

A great and sexy progression to sit down at a piano or get a group to jam out on is as follows:

FM7: F A C E

Em7: E G B D

Dm7: D F A C

CM7: C E G B

Root position, inverted doesn't matter. You can just frak out whatever you want.

Crank that out in a nice bluesy/funky groove and you can't go wrong if you improvise over a concert C scale; or transpose to whatever.

Another progression I like to hit on is this:

C - G6 - Bb - F6 - Ab - Eb6 - stop me if you see a pattern - Gb/F# - Db/C#6 - E - B6 - D - A6 - C repeat ad nauseum.

I can't stop using it. I don't think i've heard it anywhere else but I wouldn't be suprised if I had. Let me know if you ever get a chance to use them or like them or you hate them.

[Blue Devil Legend]

F tuning was amazing, when the 1 min backfield warmup started, it was that sound and intensity that fired me up, not our own warmup......lol.

In my final year in '80, after countless times of asking Wayne (Downey) to have the horn line play it for me at practice, he finally gave in, it was quite the feeling.................

[prtxsop]

I love F Tuning. It's great.

When I first heard the Cadets progressions, I loved the texture. I decided to transcribe it. I have a thing into using four voices (SATB) and came up with these chords and the inversions on some: (In Bb Major)

I (1st inv.) ..................... D F Bb D

ii7 (root) ....................... D F A C

V7 / IV (1st inv.) ........... D F Ab Bb

IV add 6 (root) .............. Eb G Bb C

Ger+6 .......................... E Gb Bb Db

V7 sus 4 (3rd inv.) .........Eb F Bb C

V7 (3rd inv.) ................. Eb F A C

I (1st inv.)...................... D F Bb D

Those are the block chords. As you can see from basic theory and voice leading, I used moves of no larger than a Major 2nd. Add the chromatic bass line, that changes the inversions all together. Then add the sop voice climbing upwards into the unknown ranges (j/k). Or at least, turn that progression into a 5 or 6 octave wall of sound (depending on how high the sops can go and how low the contras can go).

[spcbrass]

I love F Tuning. It's great.

When I first heard the Cadets progressions, I loved the texture. I decided to transcribe it. I have a thing into using four voices (SATB) and came up with these chords and the inversions on some: (In Bb Major)

I (1st inv.) ..................... D F Bb D

ii7 (root) ....................... D F A C

V7 / IV (1st inv.) ........... D F Ab Bb

IV add 6 (root) .............. Eb G Bb C

Ger+6 .......................... E Gb Bb Db

V7 sus 4 (3rd inv.) .........Eb F Bb C

V7 (3rd inv.) ................. Eb F A C

I (1st inv.)...................... D F Bb D

Those are the block chords. As you can see from basic theory and voice leading, I used moves of no larger than a Major 2nd. Add the chromatic bass line, that changes the inversions all together. Then add the sop voice climbing upwards into the unknown ranges (j/k). Or at least, turn that progression into a 5 or 6 octave wall of sound (depending on how high the sops can go and how low the contras can go).

If this is the progression I think it is....you are close....I have it at home, it works a little different, but you are close.

[RaiderLex]

I love F Tuning. It's great.

When I first heard the Cadets progressions, I loved the texture. I decided to transcribe it. I have a thing into using four voices (SATB) and came up with these chords and the inversions on some: (In Bb Major)

I (1st inv.) ..................... D F Bb D

ii7 (root) ....................... D F A C

V7 / IV (1st inv.) ........... D F Ab Bb

IV add 6 (root) .............. Eb G Bb C

Ger+6 .......................... E Gb Bb Db

V7 sus 4 (3rd inv.) .........Eb F Bb C

V7 (3rd inv.) ................. Eb F A C

I (1st inv.)...................... D F Bb D

Those are the block chords. As you can see from basic theory and voice leading, I used moves of no larger than a Major 2nd. Add the chromatic bass line, that changes the inversions all together. Then add the sop voice climbing upwards into the unknown ranges (j/k). Or at least, turn that progression into a 5 or 6 octave wall of sound (depending on how high the sops can go and how low the contras can go).

Is that the Cadets space chords?