CHORD PROGRESSIONS - This material gathers stuff from internet....in a few minutes youll become aware of the chord progressions used by most of bands... Hope you like it...best regards....

A Mixolydian Mix -The Mixolydian Mode

The mixolydian mode or mixolydian scale is a major scale, which means that is has a major third. The dif-ference between a normal major scale and mixolydian, is that the mixolydian scale has a lowered 7th. This means that it does have a low leading note, which again means that it does not give as strong lead back to the root as the major scale.If you start from the notes of a major scale, you will get the mixolydian scale if you are playing from the fifth to fifth. To put it in other words, it is the scale with the dominant as the root. Some call the scale the domi-nant 7th, or just the 7th scale. If we use the C-major as the basis scale, then you get a mixolydian scale if you are playing from G to G. (This is much easier to explain and to understand if you also play some keyboard: If you are playing on the white keys from G to G, then you get a mixolydian scale.)The diatonic chord on the fifth of a mixolydian scale will be a minor chord. If the song is in G-mixolydian (no sharps of flats), the 5th chord will be Dm. But the v-I relationship does not establish a key in the same way as the V-I relation. To establish the tonal center and by that the key, we have to rely on other chord changes.Many songs based on the mixolydian scale has the basic chord progression I-bVII. Or if you start from the other side: Songs with the chord progression I-bVII is usually based on the mixolydian scale.You may also use the mixolydian scale to play over a standard blues progression. It will give you more of a major sound, compared to the pentatonic minor or the blues scale. But it still sound bluesy. B.B. King often play the mixolydian blues.Some mixolydian progressiona are:I-bVIII-VIIb-VIb-VI-IV-vv-ii-IV-Iii-VIIb-I

I - bIII - bVII - IV Chord Progression in pop music

Good chord progression, and songs with this progression are listed below:

Britney Spears Piece Of Me

Lenny Kravitz Learn to Fly

Nine Inch Nails Were In This Together Now

Below, a little content about mixolydian mode due to the flat VII chord ...and the progressions related...

The Chord Progression i - bVI - bIII - bVII - Cool Chord progressions- The progression can get diferent emotional effects acording to the way used...- Key C = Cm - Ab - Eb - Bb- This progression is Minor....- Very used chord progression- Bands / Songs:

songs with this progression:

The Kids Arent Alright - The Offspring Damn it I Changed Again - The Offspring Self Esteem - The Offspring Crawling - Linkin Park Numb - Linkin Park Hands Held High - Linkin Park Dont drag me down - Social Distortion Let U Go - ATB Jokero - Akcent Believe - Yellowcard Holiday - Green Day The Scientist - Coldplay White Shadows - Coldplay My Happy Ending - Avril Lavigne Animal I Have Become - Three Days Grace Behind These Hazel Eyes - Kelly Clarkson Pieces - Sum 41 Still Waiting - Sum 41 Zombie - The Cranberries Save Tonight - Eagle-Eye Cherry Fin - Anberlin Disarm - The Smashing Pumkins Try - Nelly Furtado All you Wanted - Michelle Branch 9 Crimes - Damien Youre Not Alone - Saosin

Chord Progressions in Popular Music 1) The 50s progression I-vi-IV-V 2) I-V-vi-IV The same chords as the 50s progression but turned inside out 3) I-I-IV-Vjust play it and see what it reminds you of 4) II-IV-V-I the Nirvana progression 5) i-bVI-bIII-bVIIvery common today, being used by Green Day, Cold Play, The Offspring, Yellow-card, The Cranberries and others 6) I-II-IVthe most notable example being Sgt. Peppers Lonely Hearts Club Band by The Beatles 7) I-bVII-IVused widely in the 60s by just about everyone 8) i-bVI-IVHeart Shaped Box by Nirvana ( the first chord can be major) 9) i-bIII-bVII-IVWonderwall by Oasis (again the first chord can be major) 10) I-bIII-IVThe guitar solo from Free Bird 11) I-VI-VIISheryl Crows All I Want To Do 12) i-bIII-IV-bVIHouse of the Rising Sun 13) i-bVII-bVI-bVIIDont Fear the Reaper - You can mix and match these progressions within a song from verse to chorus to bridge to come up with a unique harmony structure for your compositions. If like to start with chord progressions and then come up with a melody to fit, jump right in and have some fun. However, if you are one of those who hears a melody in their head and then has to come up with chords to fit, youll need to consider the following. The notes of a melody will limit which chords you can use with it. Playing a C chord against a melody that contains a D note will sound a bit dissonant unless the D note is a passing note that resolves to C or E. In some cases, it will be just fine if you are looking for some tension. The same holds true for non-scale tones. A G# in a song in the key of G is going to sound a bit out of place unless its used in the same fashion as the example above. Having said all that, keep in mind that music is an ongoing experiment. Theres always someone out there breaking the with tradition and it might as well be you. No one every came up with a unique sound by following the rules.

font: http://yourhomestudio.com/newsletter/nov-dec07/chordprogressions_files/page0001.htm

Writing Unusual and Original Chord Progressions from ultimate guitar site....author: RainDog date: 12/08/2003 category: music theoryhttp://www.ultimate-guitar.com/columns/music_theory/writing_unusual_and_original_chord_progressions.html Before reading this article, I should say that some knowledge of music theory is needed. You should know how to construct chords, the major scale and its chords. It would also be beneficial to know the chords pertaining to the specific modes, but I will show some of these later in the article.

I major, III minor, III minor, IV major, V Major, VI minor and VII diminished. As you know these as the basic chords contained in the major scale. Starting from the VI chord we have the chords for a minor key song. The majority of music is written using these sets of chords, or extended (sevenths, ninths add2s), suspended, or powerchord versions of them. Understandably, as more and more music is made, writing a chord progression using these that sounds original and dynamic, while still sounding good, becomes a more and more difficult task. Radioheads Jonny Greenwood once said There are only 12 power chords, and I think weve had about 20 years of them, so maybe its time to move on. He even went as far as to issue a message (half-jokingly) to the bands fans to send him in any unusual chord progressions they could write. In this article, I will demon-strate techniques for writing interesting chord progressions, using examples from Radiohead, Weezer, The Beatles, The White Stripes, Jimi Hendrix and others.

First, I will show one of the simplest (and most common) way that a songs chord vocabulary is extended, is simply by adding the major chords from the keys parallel minor scale (adding the minor chords from minor key can also be, used, but the result is often pretty weak sounding, but well go into some instances of this later). This is called modal interchange. These chords are the IIIbmaj, VIIbmaj and VIbmaj.

For example, if we are in the key of A, we would add C major, G major, and F major. This gives songs a hard edge. Examples can be heard in many hard rock songs, below are some examples.

The White Stripes - Dead leaves and the Dirty Ground:

Amaj - Gmaj - Cmaj - Dmaj - AmajAmaj - Gmaj - Cmaj - Dmaj - AmajFmaj - Gmaj - Amaj

Imaj - VIIbmaj - IIIbmaj - IVmaj - ImajImaj - VIIbmaj - IIIbmaj - IVmaj - ImajVIbmaj - VIIbmaj - Imaj

This is a good example, using all the major chords from the parallel minor key.

The Rolling Stones - Gimme Shelter:

IntroC#maj - Bmaj - A MajImaj

Chorus

C#maj - Bmaj - Amaj - Emaj - Amaj - Emaj - Amaj - Emaj - Bmaj - Emaj -Bmaj

Imaj - VIIbmaj - Vibmaj - IIIbmaj - VIbmaj - IIIbmaj - VIbmaj - IIIbmaj - VIIbmaj - IIIbmaj - VIIbmaj

Another good example.

Another way to borrow from minor keys is the use of a minor fourth chord, which is simple using the mi-nor version of the IV chord in a major key. It can be done on its own in a chord progression, or preceded by the major IV chord. The romantic feeling from this chord comes from the fact that it has a VIb tone in rela-tion to the key. Other chords that can be used in major keys that have this tone are the ii diminished chord and the VIbmaj (akin to the method above).

Here are some examples.

The Beatles - She Loves You:

Chorus(Key of G)Emin - Cmin - Dmaj- GmajVImin - IVmin - Vmaj - Imaj

Radiohead - Creep:Gmaj - Bmaj - Cmaj - CminImaj - IIImaj - IVmaj - IVminThis example shows the use of the minor IV chord, and also the IIImaj chord, which I will explain in the next section.

The IIImaj is also a popular chord. Since it is not included in any of the diatonic modes, we must look elsewhere for where it comes from. Its chord tones ( in respect to its parent key), are the major third, the minor sixth and the major seventh. This leaves the harmonic major scale (a major scale with a flat sixth), or some kind of augmented scale (most likely a Lydian mode with a raised fifth, the Lydian augmented mode, a mode of the melodic minor scale). This is a beautiful, but quite odd sounding chord.

Here is an example.

Weezer - Say It Aint So:

Intro and VerseC#min - G#maj - Amaj - EmajVIm - IIImaj - VImaj - Imaj

So far weve only used three modes. There are many other ways to make an unusual chord progression by modal interchange. Try using all the modes from the major scale. Then find the chords corresponding to the modes of the melodic minor (a major scale with a minor third) and harmonic minor scale(a natural minor scale with a major seventh) . Beyond that, there are still many places to go, try using the whole tone scale (a scale consisting of 6 tones each a half step apart), the diminished half step whole step scale (made of alternating half and whole steps), or the whole step half step scale (the same as the scale before, but starting

on the whole step).

And all this is before we start changing the chords, extending and suspending them. And we havent even got into changing keys. There seems like an infinite number of new, provoking and interesting chord progres-sions just waiting for us to go out and find them.

If want some more songs for examples of modal interchange, check out Pyramid Song, by Radiohead, (which starts out with a major chords, before going into the Phrygian mode, then replaces the I chord with a minor, and moving into a more natural minor chords), try Jimi Hendrixs version of Hey Joe, or God Put A Smile On Your Face by Coldplay (which moves from major to minor to Lydian to Phrygian) to see some more examples.