Examples of Chords in B minor
Took common chord progressions in a minor key and did all the possible ways to combine chords with inverted chords for each chord progression. This way one is able to hear/see several different ways of playing the same chord progression with the chords adjusted differently each time. Chord progressions with three chords in them are repeated 27 times (except for the last one which is repeated 36 times). Chord progressions with four chords in them are repeated 81 times.
Except for the last chord progression, all the notes of chords in root position are in color. 2nd and 1st inverted chords are labeled with a 1 or 2. Chords in first inversion have one note in color and 2 black notes. Chords in second inversion have 2 notes in color and a black note.
Chords that are in:
red = i , orange = ii * , yellow = III, green = iv, blue = v, indigo = VI, violet = VII
| Attachment | Size |
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| Examples of Chord Progressions in B minor 5 17 19.mscz | 517.84 KB |
Comments
This is so colorful that it is so distracting that I can barely see the content. It turns out that there's an entire discipline, counterpoint, devoted to choosing which inversions of which chords can follow each other such that the individual voices make sense and do not duplicate each other (or, by extension, continuo and partimento). Knowing what the inversions of chords are, and learning the inversions, is indeed a basic foodstuff of musicianship, but adjoining arbitrarily inverted chords to each other in this way is not part of classical, jazz, or pop music as I understand them. Surely, in pop music and pop/folk guitar, knowing how to play chords without much concern for how the individual voices follow each other ("An A major chord is played as so!" (at least in elementary guitar)) is part of that art, but that's not this. And if you're musically literate enough to pick these chords out on the piano, you should already be thinking about "how do they really adjoin with each other musically", i.e., voice leading, so ... I know you enjoyed doing this, but ... Some of the patterns (not progressions) you present are indeed musical and useful, but many are not, for these reasons.
Good effort. I'm sure some will appreciate this (even if the score colours are a bit reminiscent of Clan MacMillan tartan).
I appreciate your effort.
However, most of them are not applicable.
Chord connections have some rules. And they are tightly applied except for one or two special cases. Otherwise, what we call "dumb" is a bad sounding appear.
These rules have been created not to put you in trouble, but to make the chords (when played back one after another) well sound.
For example:
The same notes are kept.
When there is a contiguous movement (minor or major second) in the bass, the upper voices move in the opposite direction (except for the Spanish chord movement).
and so on.
PS: I'm not criticizing you. I'm just expressing my opinion and my knowledge on the subject. Your efforts are really appreciated. I like this kind of work. Because it reflects your passion. No stop, keep going :)
In reply to I appreciate your effort… by Ziya Mete Demircan
(That's exactly what I said.) Much more useful would be five examples of the same sequence of chords set in four voices in credible, musical , typical ways, then five credible examples of some other sequence of chords. And not all chords may follow after each other, regardless of how the voices flow. Look up the "Rule of the Octave" to see how Baroque Italian teacher/composers solved the problems of what chords could/should accompany a scale in the bass and how to connect them to each other.
Same thing in different keys for A minor, E minor, and F # minor....
The chords aren't necessarily supposed to go together per say, but rather an exploration of how chords sound with different adjustments in common minor chord progressions... if they were to go together, there would only be a few of the exact same chords played over and over to create a common "theme" or "pattern" of chords typically seen in music. Just exploring all the different random ideas, not connecting all the random ideas together.... I was thinking I should go pastel colors. : P
In reply to Same thing in different keys… by tuba-lar
I don't understand this at all. You say, "these aren't examples of how these chords could go together, but here are various ways of putting these chords together." I think you should remove all the colors. It vitiates whatever you are trying to show and makes it just an annoyance to look at (not everybody liked every psychedelic poster of the 1960's, but they had their fans). There are other websites devoted to visual art.
In reply to Same thing in different keys… by tuba-lar
If you want, use ColorNotes_tpc plugin. https://musescore.org/en/project/colornotestpc
it uses "Boomwhackers convention" for colorize. And there is a sample image on the page.
But when you use color, you have to increase the size of the staff and the note. Or they can't be read comfortably.
Format menu => Page settings -> Staff space: [2.400] (or 3.000)
Here is a perfect set of 30 examples of chord progressions, one per quarter note, in A minor.
https://www.bach-chorales.info/BachChorales/B138.html , all correctly connected.
Labelling and analyzing them and observing how the voices connect them would be a lot more useful than mechanically generating all possible juxtapostions of triads.