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> Chord Progression Question
enlo22
post Apr 1 2015, 02:23 AM
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So i came up with a rhythm section for guitars and i'm confused as to what the explanation of this would be ..
So first chord is an E #11 add 9. SO the notes are E A# and F#, then it changes to G# minor 9 so notes are G# D# A#, goes back to the original chord again, then back to the G# chord again, then goes to C#add 9 , notes being C#,G#,D#. All of this makes sense so far according to the B maj key/G# minor key. My thought process was to use the E #11 as my lydian chord, then g# as my aeolean and the C# as a dorian which are all diatonic.

the question comes in that after the C# chord I shift the same add 9 shape to C which isn't a diatonic chord of the progression. Somehow I like the change, it sounds refreshing. and i think it'd be cool to change keys using the new C chord that it ends on.. is there a name for that or is it just changing keys lol sorry if it's a dumb question just curious about it.


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enlo22
post Apr 1 2015, 03:03 AM
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I uploaded an example sorry it's upside down lol SAMPLE VIDEO


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Mark.
post Apr 1 2015, 11:23 AM
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E lydian comes from Bmajor.
The Dominant7th chord in Bmajor is F#7
apply a tritone subsitution and you get C7(#11)
so thats a way to see it
also resolving from the Cadd9 down a step to Badd9 (basically your I chord) sounds pretty good imo

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enlo22
post Apr 1 2015, 03:44 PM
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QUOTE (Mark. @ Apr 1 2015, 10:23 AM) *
E lydian comes from Bmajor.
The Dominant7th chord in Bmajor is F#7
apply a tritone subsitution and you get C7(#11)
so thats a way to see it
also resolving from the Cadd9 down a step to Badd9 (basically your I chord) sounds pretty good imo


cool man, thanks for helping me, the only question i have is that if i use the tri tone sub, which would be c7 where's the #11 coming from?


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Mark.
post Apr 1 2015, 03:50 PM
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QUOTE (enlo22 @ Apr 1 2015, 04:44 PM) *
cool man, thanks for helping me, the only question i have is that if i use the tri tone sub, which would be c7 where's the #11 coming from?


#11 of C = F# so that hints back at the F#7 parental form. Thats the thing with tritone subs, you can see both the F# and C as the root.
they function because the 3rd and the 7th (which determine the harmonic function of the chord) stay the same, just swapped around
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enlo22
post Apr 2 2015, 07:48 PM
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here's the solo i came up with over the chords i posted

Video Link


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jaymz023
post Apr 7 2015, 04:15 PM
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I don't know much on theory but it sounds awesome to me! You got mad skills. Wish I could sweep pick like that!
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Gabriel Leopardi
post Apr 9 2015, 02:44 PM
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QUOTE (enlo22 @ Apr 2 2015, 03:48 PM) *
here's the solo i came up with over the chords i posted

Video Link



Hi Enlo! That's a really tricky progression and you did a good job with this solo. There are only few moments in which I'm not totally convinced on the notes choices. When progressions are complex like this one, I prefer to see each chord as an entity and focus mostly on notes from its arpeggios, and then add other notes as passing notes. In these cases, I like experimenting, playing a lot and trusting more on my ears than advanced improvisation theories.

I hear something weird at 00:17 and at 00:28. In the second (00:28), the whole backing goes weird so maybe that's the composing effect but I'm not totally convinced of that long sweep. And talking about it, I feel something similar when you play the previous sweep (00:08). I don't find it natural there, it doesn't fit good with the phrasing that you are creating, it seems that you play it there just because you want to use the technique, don't know how to explain it exactly but it just feels so "predictable" related to all the stuff around it (other phrases, rhythm, backing's riff).

Besides this, I think that most of the note choices sounds great at each moment, great job!


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