Chord progressions are the backbone of music. Yes, the intervals between chords tell a story that grows and morphs supporting the one being told by the melody and lyrics. So, can we generate beauty to build more beauty on top and make our audience smile? Yes, we can.
Which chord progression is best for beginners?
The vi-IV-I-V progression, given its simplicity and versatility, is a good starting point for anyone interested in creating their own music. It’s a chord progression that is quite friendly for beginners while continuing to inspire even the most seasoned musicians.
What is a musical chord progression?
Musical chord progressions are the foundation of any excellent song, and the I-ii-VI-IV (1-2-6-4) progression is an exceptionally beautiful one. This progression holds a special place in the world of pop music for its magical ability to make songs catchy and memorable.
What is a beautiful chord progression?
One beautiful chord progression every musician should absolutely know is the vi-ii-IV-I (6-2-4-1) progression. This chord progression holds a bare bone beauty that’s both simple and complex, at the same time. Historically speaking, the vi-ii-IV-I progression has been used often in many genres, from pop to jazz to classical music.
Example 1. A Minor 9
This A minor 9 makes use of the jangling open second string (which gives our 9th, B). The semitone interval to the C fretted on the adjacent third string also adds a nice dissonance. Shapes such as this aren’t generally movable, but it’s always worth a try – check out Example 2.
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Example 2. Amaj9
Moving the shape from Example 1 up a semitone/fret gives us this A major 9. The term ‘major’ here refers to the major 7th (G#) found on the fourth and first strings. The 9th (B) is the open second string as before – its relationship to the fretted notes remains the same in this instance.
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Example 3. Bb Minor 6
You’ll need to mute the first and sixth strings carefully on this Bb minor 6 – unless you’re looking for a particularly jarring chord The open third string gives us the 6th (G), which combines with the fretted notes of the Bb minor triad to give the name. If only naming chords could always be this simple
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Example 4. BB6
The same basic idea as Example 3 but with the minor 3rd (Db) being moved up a semitone/fret on the second string to give us a D, for a Bb6 chord. The open third string still functions as the 6th. This makes for an interesting movable chord, with the open G acting like a ‘drone’ in various positions.
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Example 5. BM11
This B minor 11 is an extended minor chord but could also be viewed as ‘polychord’ – part B minor and part A major. It has an A triad on the third, second and first strings over a B root on the fifth string and its minor 3rd (D) is on the open fourth string.
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Example 6. Bmaj9
This B major 9 is a barre chord and so can be moved to any position or key with its intervallic structure undisturbed. Continuing with the concept of polychords from Example 5, in an overdubbing scenario you could view this as an F# major chord over a B bass note.
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Example 7. Cmadd9
This C minor add 9 allows you to create harmonic complexity using regular open-position chords. This is very useful if you’re creating a track bed using strummed open acoustic chords and want to keep consistency, which can be lost when jumping between open and fretted positions. A little bit of a stretch at first, but it gets easier
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Example 8. C Add9
This C add9(add b5) demonstrates that a chord doesn’t have to be hard to play to have a complicated name This is particularly good for fingerstyle playing where a regular C major sounds too ‘ordinary’. The add9 (D) appears on the second string, with the b5 (Gb) on the fourth string.
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Example 9. C#m9
This C# minor 9 combines fretted and open strings, using all six to make this a great chord for strumming. This is another one worth moving to different positions for some nice surprises. The intervallic relationships will change with each move, but it can be fun to work these out.
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Example 10. C#maj7
This C# major 7 doesn’t use any open strings, but what you lose in open string ‘jangle’ you gain in movability. You may notice that the 5th (G#) is absent; this is a commonly used device in jazz chords. In comparison, a C# major 7 with a 5th sounds more ‘rock and pop’.
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