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Thread: This chord progression

  1. #1
    dwest2419
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    This chord progression

    Hi guys back with another thread. To make a long story short I started humming this melody and I must admit I did use my ears to help me further this process along the way. Anyway, I had this chord progression that I came up with and I was humming the melody and then I had to figure out the chords to this melody. I understood my key signature which was the key of D - Notes to the D Major scale D E F# G A B C#. And I started humming these notes of the major scale F# E D and C#. The melody went in that order and once I needed to know what were chords. Well the chords were Bm/F# - A/E G/D - C#dim. I just out the blew knew what were the chords to this melody. So after all you have a vi - V - IV -vii* chord progression.I studied inversions of major minor and dim triads. But what amazed me was the way the song or harmony or melody was going down from vi - V - IV - vii*. The main the key I dont get is that what is the tonal centre? And what are the cadences in this chord progression? Is it a deceptive, or plagal, or authentic cadence?

  2. #2
    Registered User Color of Music's Avatar
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    Quote Originally Posted by dwest2419 View Post
    Hi guys back with another thread. To make a long story short I started humming this melody and I must admit I did use my ears to help me further this process along the way. Anyway, I had this chord progression that I came up with and I was humming the melody and then I had to figure out the chords to this melody. I understood my key signature which was the key of D - Notes to the D Major scale D E F# G A B C#. And I started humming these notes of the major scale F# E D and C#. The melody went in that order and once I needed to know what were chords. Well the chords were Bm/F# - A/E G/D - C#dim. I just out the blew knew what were the chords to this melody. So after all you have a vi - V - IV -vii* chord progression.I studied inversions of major minor and dim triads. But what amazed me was the way the song or harmony or melody was going down from vi - V - IV - vii*. The main the key I dont get is that what is the tonal centre? And what are the cadences in this chord progression? Is it a deceptive, or plagal, or authentic cadence?
    Where's the viio going? If it goes to I, it's a "Authentic" backdoor cadence. V/vii are dominants - ii/IV are if they're used in a cadential sense:

    IV-I/i - The obvious Plagal IV/IV(bVII)-IV-I Double Plagal (Backdoor)

    Deceptive is V to anything, but I.

    The IV-vii is the front end of the circle progression: IV-vii(bVII)-iii-vi-ii-V-I

    As far as tonal center, look at your roots of the chords to find what scale they fit in and recall what the harmonized scale is:

    I got D Major. D-Em-F#m-G-A-Bm-C#dim-D

    Check this video I saw on YT the other day:

    http://www.youtube.com/watch?v=RWo-ETIGpLg

    There are three cadences here: Authentic, Plagal and Deceptive.

  3. #3
    dwest2419
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    Thank you Color of Music

    But I have this "last" question> What happens if you see a chord progression that went something like this > G/D - C major or F/C - G/D - C/E in the key of C. What cadence would this be? And does inversions effect cadences?

  4. #4
    Registered User Color of Music's Avatar
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    Quote Originally Posted by dwest2419 View Post
    Thank you Color of Music

    But I have this "last" question> What happens if you see a chord progression that went something like this > G/D - C major or F/C - G/D - C/E in the key of C. What cadence would this be? And does inversions effect cadences?
    No. Those would be what are called "Slash Chords," meaning the lowest note (played by the bass) is something other than the root note.

    Do not confuse this with an inversion! Many people do!

    C-F-G7-C. This progression is via an Authentic Cadence (V(7)-I) This would be the same thing using slash chords: C/E-F-G7/D-C (It's still a I-IV-V-I despite diffrrent notes - chord tones - played in the bass.

    An Inversion, however, just swaps positions within the chord (what the independent bass note does is irrelevant since it's detached from the chord)

    Here's a D chord in Second Inversion with either D, F# A (any note really) in the bass. A-D-F#. The chord is still D even if the bass is playing some "nasty" note against it. (D 6/4)/ Eb)

    IOW, with slash chords, it's the note to the left of the slash that matters.

    Jazz has quite a different interpretation, but I'll hold off on explaining it, for now!

  5. #5
    dwest2419
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    Someone here on this site should do a lesson on cadences

  6. #6
    Registered User Color of Music's Avatar
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    Quote Originally Posted by dwest2419 View Post
    Someone here on this site should do a lesson on cadences
    Certainly, it is not I whom you are suggesting now? It couldn't be!

  7. #7
    dwest2419
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    lol!

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