![]() If you learn each one of those you will notice that you simply add notes to each one and you will get your. What chords go well together Group 1 G, C, D, and Em (Key of G Major, All Open Chords) Group 2 The C, F, G, and Am Group (Key of C Major) Group 3 The D, G, A, and Bm Group (Key of D Major) Group 4 The Am, G, F Group (Key of A Minor) Group 5 The A7, D9, E9 Group (The Blues In The Key of A). Also notice that “The Thrill Is Gone” and “Unchain My Heart” use bVI–V instead of just V (more on the bVI chord below). Your pentatonics have 5 patterns that go up and down the fretboard and can be connected. Because every major key follows the same structure, using Roman numerals instead of chord names means you can write a chord progression and put it in any key. You can see both variations in the following examples. This is the first group of chords that many students get to learn to play as beginners. In minor keys, the IV and V chords can be minor (written lowercase) or major (uppercase). Different chord groups that go well together Here are some of the best groups that you should know about - Group 1: G, C, D, and Em (Keys of G Major, All open chords) The good ol' G, C, and D combination with the Em sometimes thrown in. The major I, IV, and V are the kingpins in major keys, and their minor equivalents also figure prominently in minor keys. Check out the Spotify playlists to hear some classic examples of these songs in action. In the following sections we’ll put these numbers to work and look at some common chord progressions and songs that use them. Try it out by taking a song in the major key and playing the relative minor on top of it. Here, for example, are the diatonic chords in the key of Am: Am (i) Well, as you can see, we are not learning any new scales here. The bottom line is you can pick which scales and chords to use, and the three alternatives shown are common choices for songwriting. These alternatives occur because we can build chords with other minor scales, namely the harmonic and melodic minor, which have slightly different notes and create slightly different chords. But the ii can also be minor, and the IV and V can be major. The i, iv, and v are minor (written lowercase) the ii° is diminished (indicated with ° or dim) and the bIII, bVI, and bVII are major (uppercase). When we build chords from each note in the natural minor scale, we arrive at these chords: i ii° or ii bIII iv or IV v or V bVI bVII If the consecutively sounded notes call to mind the notes of a familiar chord (a group of notes sounded together), the ear creates its own simultaneity in. As with major keys, we find the diatonic chords in minor keys by stacking notes in a scale-in this case, the natural minor scale. For an intro to diatonic chords, see this lesson on major keys (in the book you’ll find a more in-depth discussion plus charts of diatonic chords in all major and minor keys). So let’s look at the diatonic chords in minor keys, and at common progressions and classic songs using those chords. Chord progressions in minor keys provide a rich set of musical possibilities and should be part of every songwriter’s palette. They can also be soothing (George Gershwin’s “Summertime”), funky (the Commodores’ “Brick House”), or upbeat and rocking (Dire Straits’ “Sultans of Swing”). Minor keys are often said to be brooding and sad, but not all minor key songs are as bleak as, say, “Death Don’t Have No Mercy.”
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