Chords for FILM COMPOSITION | CHORD PROGRESSION ONE
Tempo:
127.2 bpm
Chords used:
C
D
G
B
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [Eb]
[Gbm]
[D]
[E]
[Abm] [C]
[G]
[B]
[A]
[Db] [A]
[G] [Bm]
[B]
[B]
[Bm]
[A]
[G]
[D]
Okay, so let's talk about what I'm [Ab] doing on this.
[C] I begin by playing a C major spread triad.
C, G, E with an octave C, then an octave [G] D, giving me a C add 9, C major with an add 9
sound and then I get into the first voicing, [C]
which is a C major 9, but the way it's voiced
is with a G [G] triad in the right hand and the notes C, D, E, a little cluster.
Then [Gm] it resolves to a G minor chord [Eb] with a B flat sus 4 in the left hand, which resolves
to a [Bm] B minor 7 flat 6, okay, [A] which is G sus 2 chord over [Gbm] a B minor triad, which then resolves
to a [D] D major 7 9 over A.
If I put a D in the bass, you'll hear that.
That's a type of D chord.
Then this chord [A] resolves down.
I'm using a similar [E] structure as I used in the C.
So this is like an A add 9, A major add 9.
So I've got A, B, C sharp and then an E major triad in the right hand.
So I've got [B] this mini cluster, the first, second, third degree [Abm] of the scale along with
the fifth, seventh, ninth [E] of the A major chord and then that resolves down to a E sus 2.
This is E sus 2 over G sharp minor, which is an [Abm] inverted E major 7 9 chord and then
[E] that resolves down to [C] a C major 7 9 over G.
If I put a C in the bass, you'll hear that.
But the way I'm voicing it is [E] D, E, [G] B and [C] then G, C in the right hand.
Then I do a move with the right hand.
The B resolves down to A and then [G] I go to a G6 chord.
This G6 chord has a G, B, D, E, G and this resolves down to a beautiful [Db] A Lydian sound.
This A Lydian sound in the right hand has C sharp, D sharp, F sharp, which would be
the third sharp 11 and [B] 13 and then it has E, A, B, which would [B] be an E sus 4.
But if I put an A in the bass like I actually overdubbed, it becomes an A Lydian sound.
Then I resolve it back up [C]
to what would be an A [Em] minor 9 11 sound, [A] but inverted.
So I've got that.
[E] I have the E sus 4 and then [C]
a fifth of C to G.
Then I [Db] go back to A Lydian, then [C] back to the A minor 9 11 and then I go to [A]
D dominant 7
and sus 4.
Then I go [G] down to a C major 7 no third and then I resolve that [D] down to A quartal over
a B and F sharp [Bm] fifth.
So here's your A quartal, A, D, G [D] over B, F sharp, which then goes down to [B] this really
cool E mixolydian sound.
So I'm playing this [A] A, C sharp, D, E over [B] an E, B perfect fifth in the left hand.
Then I go back [D] to this B Aeolian chord.
Once again, it's A quartal over a perfect fifth of B to F sharp and then back to
[B] E mixolydian,
[D]
back to B minor 7 flat 6 and then I go to, [A] this is an A dominant 7 with a sus 4 and third.
And then [D] I keep that same structure.
So A, C sharp, D, G, which gives me a G [G] Lydian, which I resolve to G add 9 and then the final
chord was a [D] D major 9.
So it's D, A, F sharp, A, D, E and I think I put an E on the top, but you could easily
play that, [D]
play a C sharp there for the major 7 that would be beautiful.
[E]
[Abm]
[C] [N]
[Gbm]
[D]
[E]
[Abm] [C]
[G]
[B]
[A]
[Db] [A]
[G] [Bm]
[B]
[B]
[Bm]
[A]
[G]
[D]
Okay, so let's talk about what I'm [Ab] doing on this.
[C] I begin by playing a C major spread triad.
C, G, E with an octave C, then an octave [G] D, giving me a C add 9, C major with an add 9
sound and then I get into the first voicing, [C]
which is a C major 9, but the way it's voiced
is with a G [G] triad in the right hand and the notes C, D, E, a little cluster.
Then [Gm] it resolves to a G minor chord [Eb] with a B flat sus 4 in the left hand, which resolves
to a [Bm] B minor 7 flat 6, okay, [A] which is G sus 2 chord over [Gbm] a B minor triad, which then resolves
to a [D] D major 7 9 over A.
If I put a D in the bass, you'll hear that.
That's a type of D chord.
Then this chord [A] resolves down.
I'm using a similar [E] structure as I used in the C.
So this is like an A add 9, A major add 9.
So I've got A, B, C sharp and then an E major triad in the right hand.
So I've got [B] this mini cluster, the first, second, third degree [Abm] of the scale along with
the fifth, seventh, ninth [E] of the A major chord and then that resolves down to a E sus 2.
This is E sus 2 over G sharp minor, which is an [Abm] inverted E major 7 9 chord and then
[E] that resolves down to [C] a C major 7 9 over G.
If I put a C in the bass, you'll hear that.
But the way I'm voicing it is [E] D, E, [G] B and [C] then G, C in the right hand.
Then I do a move with the right hand.
The B resolves down to A and then [G] I go to a G6 chord.
This G6 chord has a G, B, D, E, G and this resolves down to a beautiful [Db] A Lydian sound.
This A Lydian sound in the right hand has C sharp, D sharp, F sharp, which would be
the third sharp 11 and [B] 13 and then it has E, A, B, which would [B] be an E sus 4.
But if I put an A in the bass like I actually overdubbed, it becomes an A Lydian sound.
Then I resolve it back up [C]
to what would be an A [Em] minor 9 11 sound, [A] but inverted.
So I've got that.
[E] I have the E sus 4 and then [C]
a fifth of C to G.
Then I [Db] go back to A Lydian, then [C] back to the A minor 9 11 and then I go to [A]
D dominant 7
and sus 4.
Then I go [G] down to a C major 7 no third and then I resolve that [D] down to A quartal over
a B and F sharp [Bm] fifth.
So here's your A quartal, A, D, G [D] over B, F sharp, which then goes down to [B] this really
cool E mixolydian sound.
So I'm playing this [A] A, C sharp, D, E over [B] an E, B perfect fifth in the left hand.
Then I go back [D] to this B Aeolian chord.
Once again, it's A quartal over a perfect fifth of B to F sharp and then back to
[B] E mixolydian,
[D]
back to B minor 7 flat 6 and then I go to, [A] this is an A dominant 7 with a sus 4 and third.
And then [D] I keep that same structure.
So A, C sharp, D, G, which gives me a G [G] Lydian, which I resolve to G add 9 and then the final
chord was a [D] D major 9.
So it's D, A, F sharp, A, D, E and I think I put an E on the top, but you could easily
play that, [D]
play a C sharp there for the major 7 that would be beautiful.
[E]
[Abm]
[C] [N]
Key:
C
D
G
B
A
C
D
G
_ _ _ _ _ _ _ _
[C] _ _ _ _ _ [Eb] _ _ _
_ _ _ _ [Gbm] _ _ _ _
_ _ [D] _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ [Abm] _ _ _ _ [C] _ _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ [B] _ _ _ _
_ _ [A] _ _ _ _ _ _
[Db] _ _ _ _ _ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ [Bm] _ _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ [B] _ _
_ _ _ _ _ [Bm] _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Okay, so let's talk about what I'm [Ab] doing on this.
[C] I begin by playing a C major spread triad.
C, G, _ E with an octave C, then an octave [G] D, giving me a C add 9, C major with an add 9
sound and then I get into the first voicing, [C] _
which is a C major 9, but the way it's voiced
is with a G [G] triad in the right hand and the notes C, D, E, a little cluster. _
Then [Gm] it resolves to a G minor chord [Eb] with a B flat sus 4 in the left hand, _ which resolves
to a [Bm] _ B minor 7 flat 6, okay, [A] which is G sus 2 chord over [Gbm] a B minor triad, _ _ which then resolves
to a [D] _ D major 7 9 _ over A.
If I put a D in the bass, _ you'll hear that.
That's a type of D chord. _ _
_ Then this chord [A] resolves down.
I'm using a similar [E] _ structure as I used in the C. _
So this is like an A add 9, _ A major add 9.
So I've got A, B, C sharp and then an E major triad in the right hand.
So I've got [B] this mini cluster, the first, second, third degree [Abm] of the scale along with
the fifth, seventh, ninth [E] of the A major chord _ _ and then that resolves down to a _ _ E sus 2.
This is E sus 2 over _ G sharp minor, _ which is an [Abm] inverted E major 7 9 chord _ _ and then
[E] that resolves down to _ [C] _ _ _ _ _ a _ C major 7 _ _ 9 over G.
If I put a C in the bass, you'll hear that.
But the way I'm voicing it is [E] D, E, [G] B and [C] then G, C in the right hand.
_ _ _ Then I _ _ do a move with the right hand.
The B resolves down to A _ and then [G] _ _ _ I go to a G6 chord.
This G6 chord has a G, B, D, E, G _ and this resolves down to a beautiful [Db] _ A Lydian sound.
This A Lydian sound in the right hand has C sharp, D sharp, F sharp, which would be
the _ third sharp 11 and [B] 13 and then it has E, _ A, B, which would [B] be an E sus 4.
But if I put an A in the bass like I actually overdubbed, it becomes an A Lydian sound.
Then I resolve it back up _ [C] _ _
_ to what would be an A [Em] minor 9 11 sound, [A] but inverted.
_ So I've got that.
[E] I have the E sus 4 and then [C] _ _
_ _ _ a fifth of C to G.
Then I [Db] go back to A Lydian, _ then _ [C] back to the A minor 9 11 and then I go to [A] _ _
D _ dominant 7
and sus 4.
Then I go [G] down to a _ C major 7 no third and _ _ then I resolve that [D] down to A quartal _ over
a B and F sharp [Bm] fifth.
So here's your A quartal, A, D, G [D] over B, F sharp, _ _ _ which then goes down to [B] this _ really
cool E mixolydian sound.
So I'm playing this [A] A, C sharp, D, E over [B] an _ _ E, B perfect fifth in the left hand. _
Then I go back [D] to this _ B Aeolian chord.
Once again, it's A quartal over a perfect fifth of B to F sharp and then back to _
[B] _ _ _ E mixolydian,
[D] _ _
back to B minor 7 flat 6 and then I go to, [A] _ _ this is an A dominant 7 with a sus 4 and third. _
And then [D] _ I keep that same structure.
So A, C sharp, D, G, which gives me a G [G] Lydian, which I resolve to G add 9 _ _ _ and then _ _ _ the final
chord _ was a [D] _ D major 9.
So it's D, A, F sharp, A, D, E _ _ and I think I put an E on the top, _ but you could easily
_ play that, [D] _ _
play a C sharp there for the major 7 that would be beautiful. _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ [Abm] _ _
_ _ [C] _ _ _ _ [N] _ _
[C] _ _ _ _ _ [Eb] _ _ _
_ _ _ _ [Gbm] _ _ _ _
_ _ [D] _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ [Abm] _ _ _ _ [C] _ _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ [B] _ _ _ _
_ _ [A] _ _ _ _ _ _
[Db] _ _ _ _ _ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ [Bm] _ _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ [B] _ _
_ _ _ _ _ [Bm] _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Okay, so let's talk about what I'm [Ab] doing on this.
[C] I begin by playing a C major spread triad.
C, G, _ E with an octave C, then an octave [G] D, giving me a C add 9, C major with an add 9
sound and then I get into the first voicing, [C] _
which is a C major 9, but the way it's voiced
is with a G [G] triad in the right hand and the notes C, D, E, a little cluster. _
Then [Gm] it resolves to a G minor chord [Eb] with a B flat sus 4 in the left hand, _ which resolves
to a [Bm] _ B minor 7 flat 6, okay, [A] which is G sus 2 chord over [Gbm] a B minor triad, _ _ which then resolves
to a [D] _ D major 7 9 _ over A.
If I put a D in the bass, _ you'll hear that.
That's a type of D chord. _ _
_ Then this chord [A] resolves down.
I'm using a similar [E] _ structure as I used in the C. _
So this is like an A add 9, _ A major add 9.
So I've got A, B, C sharp and then an E major triad in the right hand.
So I've got [B] this mini cluster, the first, second, third degree [Abm] of the scale along with
the fifth, seventh, ninth [E] of the A major chord _ _ and then that resolves down to a _ _ E sus 2.
This is E sus 2 over _ G sharp minor, _ which is an [Abm] inverted E major 7 9 chord _ _ and then
[E] that resolves down to _ [C] _ _ _ _ _ a _ C major 7 _ _ 9 over G.
If I put a C in the bass, you'll hear that.
But the way I'm voicing it is [E] D, E, [G] B and [C] then G, C in the right hand.
_ _ _ Then I _ _ do a move with the right hand.
The B resolves down to A _ and then [G] _ _ _ I go to a G6 chord.
This G6 chord has a G, B, D, E, G _ and this resolves down to a beautiful [Db] _ A Lydian sound.
This A Lydian sound in the right hand has C sharp, D sharp, F sharp, which would be
the _ third sharp 11 and [B] 13 and then it has E, _ A, B, which would [B] be an E sus 4.
But if I put an A in the bass like I actually overdubbed, it becomes an A Lydian sound.
Then I resolve it back up _ [C] _ _
_ to what would be an A [Em] minor 9 11 sound, [A] but inverted.
_ So I've got that.
[E] I have the E sus 4 and then [C] _ _
_ _ _ a fifth of C to G.
Then I [Db] go back to A Lydian, _ then _ [C] back to the A minor 9 11 and then I go to [A] _ _
D _ dominant 7
and sus 4.
Then I go [G] down to a _ C major 7 no third and _ _ then I resolve that [D] down to A quartal _ over
a B and F sharp [Bm] fifth.
So here's your A quartal, A, D, G [D] over B, F sharp, _ _ _ which then goes down to [B] this _ really
cool E mixolydian sound.
So I'm playing this [A] A, C sharp, D, E over [B] an _ _ E, B perfect fifth in the left hand. _
Then I go back [D] to this _ B Aeolian chord.
Once again, it's A quartal over a perfect fifth of B to F sharp and then back to _
[B] _ _ _ E mixolydian,
[D] _ _
back to B minor 7 flat 6 and then I go to, [A] _ _ this is an A dominant 7 with a sus 4 and third. _
And then [D] _ I keep that same structure.
So A, C sharp, D, G, which gives me a G [G] Lydian, which I resolve to G add 9 _ _ _ and then _ _ _ the final
chord _ was a [D] _ D major 9.
So it's D, A, F sharp, A, D, E _ _ and I think I put an E on the top, _ but you could easily
_ play that, [D] _ _
play a C sharp there for the major 7 that would be beautiful. _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ [Abm] _ _
_ _ [C] _ _ _ _ [N] _ _