Chords for How Chord Progressions Work
Tempo:
101.05 bpm
Chords used:
G
Ab
Am
C
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Ab] So let's say I'm sitting at my keyboard with the intent of writing a chord progression.
I let my [G] hand fall wherever it wants and this is what it plays.
[C] It's a G major.
Okay, cool.
Nice.
I like [G] the way that sounds.
But what do I do next?
This G major by itself can actually be many things.
That's because chords have functions based on the context that they exist in.
The context of the word context in this case is the key that you wish to play in.
There are seven tonal functions and they have names.
[G] Names that I will not use in this video in the name of simplicity.
The functions are denoted by Roman [Ab] numerals 1 through 7,
in which capital and lowercase characters denote major and minor.
How do we figure out which [G] chords have which function in a given key?
Well, we need two things to figure that out.
The first being the circle of fifths.
Let's say our desired key is G major.
We find that on the circle of fifths we can see how many accidentals or
sharps and flats are in its key, as well as which notes have those accidentals.
So now that we know in G there is one sharp and it's F,
we can place the notes on our scale in order along the seven tonal functions.
But how do we know which chords are major and minor?
Luckily, there's a pattern for determining this.
In a major key, this pattern is [Am] major, minor, [G] minor, major, [Em] major, [Gb] minor diminished.
While in [G] a minor key, it is [A] minor, [Eb] diminished, major, minor, minor, major, [F] major.
[G] So now, with all that being said, what role do I want this G major to play?
What hat will it wear?
Let's try on some hats.
The first hat to try on is the 1.
This is a beautiful hat because it establishes this chord as the tonal center.
I'm going to play a 2-5-1 chord progression with G major as the 1.
Since G major is 1, the context, or the key, is established as G major.
[E] In G major, the 2 [Am] is an A minor and the [D] 5 is a D major.
[Em] Here's how those three chords sound [Am] together.
[D]
[G] Cool.
But what does G major sound like wearing another hat?
What if G major is the 5?
That situation exists in the key of C major, where C major is the 1 [Dm] and D minor is the 2.
[G] Here's what that 2-5-1 chord progression sounds like in [Dm] C major.
[G] [C] [E]
As you can hear, while [G] G major remains the same collection of pitches,
it sounds different in varying contexts because it plays a different role.
If we think of chord progressions as [E] a series of functions,
we can better understand what we want out of our progression.
[G] The relationship between tonal function is part of what makes a progression flow.
And the flow of a progression is a major factor in determining the emotional journey
the listener is guided through.
[Abm] When we play a 2-4-6-5 chord progression in D sharp [Fm] major [Ab] [Eb]
[Bb] versus in G [Am] major,
[C] [Em] [D]
the [Ab] emotions seem quite different, but the flow feels familiar.
In many ways, though, the emotions and flow derived from music are subjective.
It's up to you to experiment and determine what [G] tonal functions mean to you.
[Bm] [G]
I let my [G] hand fall wherever it wants and this is what it plays.
[C] It's a G major.
Okay, cool.
Nice.
I like [G] the way that sounds.
But what do I do next?
This G major by itself can actually be many things.
That's because chords have functions based on the context that they exist in.
The context of the word context in this case is the key that you wish to play in.
There are seven tonal functions and they have names.
[G] Names that I will not use in this video in the name of simplicity.
The functions are denoted by Roman [Ab] numerals 1 through 7,
in which capital and lowercase characters denote major and minor.
How do we figure out which [G] chords have which function in a given key?
Well, we need two things to figure that out.
The first being the circle of fifths.
Let's say our desired key is G major.
We find that on the circle of fifths we can see how many accidentals or
sharps and flats are in its key, as well as which notes have those accidentals.
So now that we know in G there is one sharp and it's F,
we can place the notes on our scale in order along the seven tonal functions.
But how do we know which chords are major and minor?
Luckily, there's a pattern for determining this.
In a major key, this pattern is [Am] major, minor, [G] minor, major, [Em] major, [Gb] minor diminished.
While in [G] a minor key, it is [A] minor, [Eb] diminished, major, minor, minor, major, [F] major.
[G] So now, with all that being said, what role do I want this G major to play?
What hat will it wear?
Let's try on some hats.
The first hat to try on is the 1.
This is a beautiful hat because it establishes this chord as the tonal center.
I'm going to play a 2-5-1 chord progression with G major as the 1.
Since G major is 1, the context, or the key, is established as G major.
[E] In G major, the 2 [Am] is an A minor and the [D] 5 is a D major.
[Em] Here's how those three chords sound [Am] together.
[D]
[G] Cool.
But what does G major sound like wearing another hat?
What if G major is the 5?
That situation exists in the key of C major, where C major is the 1 [Dm] and D minor is the 2.
[G] Here's what that 2-5-1 chord progression sounds like in [Dm] C major.
[G] [C] [E]
As you can hear, while [G] G major remains the same collection of pitches,
it sounds different in varying contexts because it plays a different role.
If we think of chord progressions as [E] a series of functions,
we can better understand what we want out of our progression.
[G] The relationship between tonal function is part of what makes a progression flow.
And the flow of a progression is a major factor in determining the emotional journey
the listener is guided through.
[Abm] When we play a 2-4-6-5 chord progression in D sharp [Fm] major [Ab] [Eb]
[Bb] versus in G [Am] major,
[C] [Em] [D]
the [Ab] emotions seem quite different, but the flow feels familiar.
In many ways, though, the emotions and flow derived from music are subjective.
It's up to you to experiment and determine what [G] tonal functions mean to you.
[Bm] [G]
Key:
G
Ab
Am
C
Em
G
Ab
Am
[Ab] _ So let's say I'm sitting at my keyboard with the intent of writing a chord progression.
_ I let my [G] hand fall wherever it wants and this is what it plays. _ _
_ [C] It's a G major.
Okay, cool.
Nice.
I like [G] the way that sounds.
But what do I do next?
_ _ _ This G major by itself can actually be many things.
That's because chords have functions based on the context that they exist in.
The context of the word context in this case is the key that you wish to play in.
There are seven tonal functions and they have names.
[G] Names that I will not use in this video in the name of simplicity.
_ The functions are denoted by Roman [Ab] numerals 1 through 7,
in which capital and lowercase characters denote major and minor.
_ How do we figure out which [G] chords have which function in a given key?
_ Well, we need two things to figure that out.
The first being the circle of fifths.
Let's say our desired key is G major.
We find that on the circle of fifths we can see how many accidentals or
sharps and flats are in its key, as well as which notes have those accidentals. _
So now that we know in G there is one sharp and it's F,
we can place the notes on our scale in order along the seven tonal functions.
_ But how do we know which chords are major and minor? _
Luckily, there's a pattern for determining this.
In a major key, this pattern is [Am] major, minor, [G] minor, major, [Em] major, [Gb] minor diminished.
While in [G] a minor key, it is [A] minor, [Eb] diminished, major, minor, minor, major, [F] major.
_ [G] _ So now, with all that being said, what role do I want this G major to play?
What hat will it wear?
_ Let's try on some hats.
_ _ The first hat to try on is the 1.
This is a beautiful hat because it establishes this chord as the tonal center.
_ _ I'm going to play a 2-5-1 chord progression with G major as the 1. _
Since G major is 1, the context, or the key, is established as G major.
[E] In G major, the 2 [Am] is an A minor and the [D] 5 is a D major. _
[Em] Here's how those three chords sound [Am] together.
_ [D] _ _
[G] _ _ Cool.
But what does G major sound like wearing another hat?
What if G major is the 5?
_ That situation exists in the key of C major, where C major is the 1 [Dm] and D minor is the 2.
[G] Here's what that 2-5-1 chord progression sounds like in [Dm] C major.
_ [G] _ _ [C] _ _ [E]
As you can hear, while [G] G major remains the same collection of pitches,
it sounds different in varying contexts because it plays a different role. _
If we think of chord progressions as [E] a series of functions,
we can better understand what we want out of our progression.
[G] The relationship between tonal function is part of what makes a progression flow.
And the flow of a progression is a major factor in determining the emotional journey
the listener is guided through.
[Abm] When we play a 2-4-6-5 chord progression in D sharp [Fm] major _ [Ab] _ _ _ [Eb] _
_ [Bb] versus in G [Am] major, _
[C] _ _ [Em] _ _ [D] _ _
the [Ab] emotions seem quite different, but the flow feels familiar.
_ In many ways, though, the emotions and flow derived from music are subjective.
It's up to you to experiment and determine what [G] tonal functions mean to you. _
_ _ _ _ _ _
_ _ [Bm] _ _ [G] _ _
_ _ _ _ _ _
_ I let my [G] hand fall wherever it wants and this is what it plays. _ _
_ [C] It's a G major.
Okay, cool.
Nice.
I like [G] the way that sounds.
But what do I do next?
_ _ _ This G major by itself can actually be many things.
That's because chords have functions based on the context that they exist in.
The context of the word context in this case is the key that you wish to play in.
There are seven tonal functions and they have names.
[G] Names that I will not use in this video in the name of simplicity.
_ The functions are denoted by Roman [Ab] numerals 1 through 7,
in which capital and lowercase characters denote major and minor.
_ How do we figure out which [G] chords have which function in a given key?
_ Well, we need two things to figure that out.
The first being the circle of fifths.
Let's say our desired key is G major.
We find that on the circle of fifths we can see how many accidentals or
sharps and flats are in its key, as well as which notes have those accidentals. _
So now that we know in G there is one sharp and it's F,
we can place the notes on our scale in order along the seven tonal functions.
_ But how do we know which chords are major and minor? _
Luckily, there's a pattern for determining this.
In a major key, this pattern is [Am] major, minor, [G] minor, major, [Em] major, [Gb] minor diminished.
While in [G] a minor key, it is [A] minor, [Eb] diminished, major, minor, minor, major, [F] major.
_ [G] _ So now, with all that being said, what role do I want this G major to play?
What hat will it wear?
_ Let's try on some hats.
_ _ The first hat to try on is the 1.
This is a beautiful hat because it establishes this chord as the tonal center.
_ _ I'm going to play a 2-5-1 chord progression with G major as the 1. _
Since G major is 1, the context, or the key, is established as G major.
[E] In G major, the 2 [Am] is an A minor and the [D] 5 is a D major. _
[Em] Here's how those three chords sound [Am] together.
_ [D] _ _
[G] _ _ Cool.
But what does G major sound like wearing another hat?
What if G major is the 5?
_ That situation exists in the key of C major, where C major is the 1 [Dm] and D minor is the 2.
[G] Here's what that 2-5-1 chord progression sounds like in [Dm] C major.
_ [G] _ _ [C] _ _ [E]
As you can hear, while [G] G major remains the same collection of pitches,
it sounds different in varying contexts because it plays a different role. _
If we think of chord progressions as [E] a series of functions,
we can better understand what we want out of our progression.
[G] The relationship between tonal function is part of what makes a progression flow.
And the flow of a progression is a major factor in determining the emotional journey
the listener is guided through.
[Abm] When we play a 2-4-6-5 chord progression in D sharp [Fm] major _ [Ab] _ _ _ [Eb] _
_ [Bb] versus in G [Am] major, _
[C] _ _ [Em] _ _ [D] _ _
the [Ab] emotions seem quite different, but the flow feels familiar.
_ In many ways, though, the emotions and flow derived from music are subjective.
It's up to you to experiment and determine what [G] tonal functions mean to you. _
_ _ _ _ _ _
_ _ [Bm] _ _ [G] _ _
_ _ _ _ _ _