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venjacques · 09-27-2012, 09:04 PM

Very simple way is for filler.

You can do this by adding a pattern of each chord like so:

Take a I vi IV V

Now go vii*/ before each one each time you change:

I - [vii*/vi] - vi - [vii*/IV] - IV - [vii*/V] - V
This spices it up with a little dissonance flair here and there.

You can do this to a crazier degree:

Let's add a ii/ vi/ vii*/ before each of the main chords each

I - [ii/vi - vi/vi - vii*/vi] - vi - [ii/IV - vi/IV - vii*/IV] - IV - [ii/V - vi/V - vii*/V] - V - I

This could give you some very interesting (and legal

) sounds.

Supplementing like this is very common and should be regular in your repertoire.

Another way to make your bass line more interesting is to substitute chords.

That flat 6 from the augmented 6th chords is a useful thing to go from a vi chord (or iv6-3 or ii6-4 for that matter) down to a V chord. If you go for example
iv 6-3 - Italian+6 - V - I

Your bass line would go: 6 b6 5 1, which is smooth as silk.

You can then supplement each one with extra pre-chords that would just redefine that basis. You can then start realizing things in a background and foreground.

Speaking of before, the foreground is maybe that craziness with the

I - [ii/vi - vi/vi - vii*/vi] - vi - [ii/IV - vi/IV - vii*/IV] - IV - [ii/V - vi/V - vii*/V] - V - I

While the real background (and overall picture) is simply I - vi - IV - V - I
That beautiful sense of complicated simplicity is magic.

I saw recently where someone took a tritone variation of the chord he was going to. Let's talk actual letters here. Something like I - IV - V - I in C major would be:

C E G - F A C - G B D - C E G

And he put in the tritones between, like this:

C E G - b d# f# - F A C - c# e# g# - G B D - f# a# c# - C E G

You can get interesting sounds this way.

Now, in reality, whatever works to you works to you. You can breathe whatever you want into life because you say so. It's your music. You're the overall sayer of what goes on in your music. If you like the way that the ii13#11b9 moving to a Fr+6 chord sounds, then by all means, go for it. Your imagination is all the 'spice' your chord progression needs.

09-27-2012, 09:04 PM	#152 (permalink)
venjacques Groupie Join Date: Mar 2012 Posts: 48	Very simple way is for filler. You can do this by adding a pattern of each chord like so: Take a I vi IV V Now go vii/ before each one each time you change: I - [vii/vi] - vi - [vii/IV] - IV - [vii/V] - V This spices it up with a little dissonance flair here and there. You can do this to a crazier degree: Let's add a ii/ vi/ vii/ before each of the main chords each I - [ii/vi - vi/vi - vii/vi] - vi - [ii/IV - vi/IV - vii/IV] - IV - [ii/V - vi/V - vii/V] - V - I This could give you some very interesting (and legal) sounds. Supplementing like this is very common and should be regular in your repertoire. Another way to make your bass line more interesting is to substitute chords. That flat 6 from the augmented 6th chords is a useful thing to go from a vi chord (or iv6-3 or ii6-4 for that matter) down to a V chord. If you go for example iv 6-3 - Italian+6 - V - I Your bass line would go: 6 b6 5 1, which is smooth as silk. You can then supplement each one with extra pre-chords that would just redefine that basis. You can then start realizing things in a background and foreground. Speaking of before, the foreground is maybe that craziness with the I - [ii/vi - vi/vi - vii/vi] - vi - [ii/IV - vi/IV - vii/IV] - IV - [ii/V - vi/V - vii*/V] - V - I While the real background (and overall picture) is simply I - vi - IV - V - I That beautiful sense of complicated simplicity is magic. I saw recently where someone took a tritone variation of the chord he was going to. Let's talk actual letters here. Something like I - IV - V - I in C major would be: C E G - F A C - G B D - C E G And he put in the tritones between, like this: C E G - b d# f# - F A C - c# e# g# - G B D - f# a# c# - C E G You can get interesting sounds this way. Now, in reality, whatever works to you works to you. You can breathe whatever you want into life because you say so. It's your music. You're the overall sayer of what goes on in your music. If you like the way that the ii13#11b9 moving to a Fr+6 chord sounds, then by all means, go for it. Your imagination is all the 'spice' your chord progression needs. __________________ It's just another day.