Alternate progression 2: Em-Eb-Em-Eb (I-bVII-I-bVII).Alternate progression 1: Cm-G#-Cm-Eb (VI-bIV-VI-bVII).It sounds great when played on guitar, but also works well in moody or ambient-sounding synths. Regardless, it’s crying out for a faster drum beat and a tight bassline to match. Alternate progression 2: Eb-Em-Eb-Em (VI-bVII-VI-bVII)ĭepending on the instrumentation you opt for, this progression can either be anthemic and rousing or dark and moody.Alternate progression 1: Em-C-Em-D (bVII-IV-bVII-V).It sounds awesome when put into an arpeggiated synth, especially with some delay on top and with an elongated bassline underpinning it. This one has a little more soul injected to it firmly rooted in the minor tonality but with a sense of positivity and quirkiness about it. Alternate progression 2: Dm-Am-C-B (IV-I-III-II).Alternate progression 1: Fm-Em-Fm-Em (VI-V-VI-V).Try putting it in either piano or an arpeggiated synth, coupled with a moving bassline and a tight trap beat. It works great when holding each chord for a count of four and is best-supported by sparse instrumentation This progression is moody and mysterious, drawing influence from Spanish music. Alternate progression 2: Bb-Cm-G#-Eb (IV-V-III-VII). ![]() Alternate progression 1: Fm-Gm-Cm-Eb (I-II-V-VII).It sounds great in either organ or strings, with a more laid-back half-time beat keeping it all together and making way for the vocal track. This is a more chilled-out and melancholic progression, which would work great for underpinning lyrics about retrospection or regret. Alternate progression 2: A-F-A-F (VI-bIV-VI-bIV).Alternate progression 1: A-F#m-A-F#m (VI-IV-VI-IV).It sounds great either in guitar or strings, especially with an arpeggiated bassline thrown in. It can be dark and moody or more hard and upbeat, depending on the instrumentation you use. Simple as it may be, this progression is super versatile. Alternate progression 2: Bm-Cm-Bm-Cm (V-bVII-VII).Alternate progression 1: Gm-E-Eb-Gbm (I-bIII-III-bIII).It sounds great when played with an 808 bass, especially with some arpeggiated synth and sustained strings alongside it. This progression has moody undertones that conjure up images of nightlife and dark streets mysterious while still retaining an anthemic and epic feel. Alternate progression 2: Bm-Cm-Bm-Cm (V-VI-V-VI).Alternate progression 1: Gm-Gbm-Gm-Gbm (III-bIII-III-bIII).I’d recommend trying it out with guitar, bass and possibly some light strings before introducing drums later on in the track. It sounds great when played on guitar and is well-suited to sparse arrangements. This progression has a bit of a spooky feel to it, largely due to the minor feel and chromatic movement. Alternate progression 2: Cm-Em-G (bVII-II-IV).Alternate progression 1: Cm-B-Em (bVII-VI-II).A drone-style bass would underpin this progression well. It works great when placed in either strings or a bright-sounding synth or organ. The diatonic movement gives it a real sense of power, creating a larger than life sound for even the tightest of flows. This chord progression is a little more upbeat and anthemic. Alternate progression 2: Cm-Eb-D-Gm (I-III-II-V). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |