This changed how I write Chord Progressions

Comments · 121

• JA

  @JamesonNathanJones · 2 years ago · pinned

  I made a new eBook specifically about the harmony concepts I use every day. You can grab it here if you&apos;d like. It&apos;s free :) <a href="https://bit.ly/FreeHarmonyGuide">https://bit.ly/FreeHarmonyGuide</a>

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• RY

  @ryan.noakes · 2 years ago

  &quot;Rick Beato made me say it.&quot;<br>Omg I laughed so hard at that!

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• TE

  @TenorCantusFirmus · 2 years ago

  That&apos;s why they teach you counterpoint - Voice-leading is perhaps even more important than &quot;raw&quot; chord succession.

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• MI

  @michaelkonomos · 2 years ago

  I like the &quot;start with two parts&quot; tip.

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• VE

  @VenusTheory · 2 years ago

  Oky but pls sned midi chord pack for 8 ez payment of $99.95

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• MN

  @MNolanMillar · 2 years ago

  The way I&apos;ve begun conceptualising the reversal in my composition process is from bottom up, to top down. <br>I used to think about chord progressions first, then build melodies around them. This led me to producing boring, clunky, repetitive sequences of short progressions and I often got stuck in loops. <br>Now, I&apos;m thinking in terms of emotion, texture, and melody, before worrying about structure.<br>Naturally, it&apos;s often necessary to let the harmony lead the melody, but my process is moving towards an interplay between or oscillation from one direction to the other, like repeatedly zooming in and back out.<br>On the other hand, adding limitations such as chord progressions and structures can aid the composition process as it pushes you to find creative solutions to conceal the fact you&apos;re using a stock standard foundation. This also provides good exercise when learning, whether that be as a beginner learning to write simple progressions, or even moving from simple to intermediate.<br>I wouldn&apos;t call myself an advanced composer, but I find the new approach much more satisfying.

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• QU

  @quadcom · 1 year ago

  The outro chords brought me right back to Silo.

• LO

  @LouisSerieusement · 2 years ago

  <a href="https://www.youtube.com/watch?v=eh2O-tdfsCE&amp;t=251">4:11</a><br>&quot;Et passer au Français, à la moitié de la phrase.&quot;

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• SL

  @slimyelow · 2 years ago

  <a href="https://www.youtube.com/watch?v=eh2O-tdfsCE&amp;t=477">7:57</a> - Modest Mussorgsky

• SL

  @slimyelow · 2 years ago

  After many years of writing vertical and linear, I found that vertical sounds great when employed explicitly over time or extended harmonic rhythm. This approach of course goes past the typical 8 bar loop. Vertical can be like a ladder, where you escalate your composition over time and space in both directions. I have truly grown fond of massive vertical structures that hit exactly when they are supposed to in a composition. It provides great drama, which is so satisfactory.

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• FA

  @FASTFASTmusic · 2 years ago (edited)

  Voice leading is EVERYTHING. That&apos;s the beauty of the keyboard. And also the beatuyof DAWs by selecting the &quot;Toppest notes&quot; and dropping an octave then raising the &quot;bottomest&quot; notes up an octave, repeat until everything sits within one octave - insta voice leading.

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• NO

  @NoahHornberger · 2 years ago (edited)

  I started out composing parts with one line at a time because I couldn&apos;t play the piano but I could sing. So I would just play the line I was singing and stack them. it worked to help me produce clear ideas but then I learned about chords and everything got more complicated. Chords are about color, not melody or harmony . . .It took me 10 years of that to go back to writing how I started. In my mind chords are the important results of writing good lines . . . but starting with them before you really understand harmonic leading can be a problem. Nice reminders here! Also it helps to work with an instrument with rich overtones because then a single note is already thick like a chord but more simple. Regarding part doubling as weakness: I think of it as a special effect, like a delay or a phaser, use doubled notes to draw attention to a reality in the music, like a pause that says &quot;this&quot;. Or someone being very obvious to explain something. Thinking of doubled notes as &apos;weak&apos; feels like missing all the good things they can do for your music.

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