Which chord come next? on my new song


Abadez
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Joined: 09/15/11
Posts: 14
Abadez
Registered User
Joined: 09/15/11
Posts: 14
09/17/2016 9:56 pm

Dears,

I have come up with nice chords as i decided to be one of my composed song, i started with (Bm, A, Em),

But i am confused which chord can be next? or is there a chord theory, i actually listened to the bonus I have given when I joined. i heard the whole clip, but still i dont know what is the theory behind ( Minors chord).

Please, i need answer in a simple clarification.


Many thanks
# 1
ChristopherSchlegel
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Joined: 08/09/05
Posts: 8,328
ChristopherSchlegel
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09/18/2016 3:11 pm
Originally Posted by: Abadez
I have come up with nice chords as i decided to be one of my composed song, i started with (Bm, A, Em)

But i am confused which chord can be next?

Those chords belong together naturally in the key of B minor.

Bm - i
C# dim - ii dim
D maj - III
Em - iv
F#m - v
Gmaj - VII
Amaj - VII

So you've got: Bm (i) - A (VII) - Em (iv). You could play one of those other chords. But you don't have to!

You could look at it like a modal progression, you could just play any chord you like the sound of, regardless of the key.

But if you're composing, writing a song, then a better question to ask first is: what's the melody? Then, what's the rhythmic phrasing of song? What kind of sound, style, genre are you after?

If you want a pop-acoustic strumming song, then you've probably got enough chords with those 3, and you need to start singing a melody over those chords until you've got something catchy.

If you want a rock song, then you might have enough for a verse or chorus, but you might need a single note riff to play along with or in between those chords.

If you want a slightly more sophisticated pop sound you might just play an F#7 after the Emin before cycling back to the Bmin.

The options are virutally limitless. Only depends on your knowledge & what you want to create. Have fun!
Christopher Schlegel
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# 2
Abadez
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Joined: 09/15/11
Posts: 14
Abadez
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Posts: 14
09/19/2016 2:10 am

Many Thanks, That was helpful ZZSmilieZZ

if i do have another questions, i wont hesitate to ask you Teacher ZZSmilieZZ

Have a good one


# 3
mrsoul55
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mrsoul55
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09/24/2016 10:31 pm

If the I, IV, V chords are always major, the ii, iii, and vi minor, and the 7th diminished, does this mean the progression follows a D scale or has something to do with D major? Is it a mode of D?

Also, you mention playing the F#7 after the Eminor. Would the F#7 need to be minor?
# 4
ChristopherSchlegel
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ChristopherSchlegel
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Posts: 8,328
09/26/2016 11:34 am

Originally Posted by: mrsoul55
If the I, IV, V chords are always major, the ii, iii, and vi minor, and the 7th diminished, [/quote]
This is the list of chord qualities for harmonizing a major scale.
Originally Posted by: mrsoul55
does this mean the progression follows a D scale or has something to do with D major? Is it a mode of D?

Kind of, yes! Since we're discussing the B minor scale, D major is the relative major to B minor. So they have the same notes & chord harmonies. Except when we talk about them using B as the root note, the numbers switch.

Let's line them up!

Bm - i
C# dim - ii dim
D maj - III
Em - iv
F#m - v
Gmaj - VII
Amaj - VII

D maj - I
Em - ii
F#m - iii
Gmaj - IV
Amaj - V
Bm - vi
C# dim - vii dim
[QUOTE=mrsoul55]
Also, you mention playing the F#7 after the Eminor. Would the F#7 need to be minor?

Changing the F# minor to an F#7 dominant chord is altering the scale, it is a modulation that allows us to have a V7 chord in the B minor scale & have a different sound that we call harmonic minor or melodic minor instead of natural minor.

Christopher Schlegel
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Christopher Schlegel Lesson Directory
# 5

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