So, let's go ahead and do a little bit of chord progression using the second-part theory here. In the first episode, we talked about how to use your senses to write chord progression, but I'm sure it will make a lot more sense after you watch the previous video.

So, without further ado, let's dive right in.

Welcome to Theoretical How to Make Chord Progress. Using theories to make a chord progression starts with the scale of a song.

You want to make sure that you've got your base scale of C major, and then you want to make sure that you've got all your chord progressions and you can transpose it up and down and you can scale it up and down.

So, I've got a C major scale that, you know, we all know that's the seven notes of the white keyboard, do-re-mi-fa-so-la-ti.

That's why I hung a key filter on it, because that's how you know that when you hit that other note, other than the C major key configuration, you didn't hear that sound.

I'm going to scale it, and then I'm going to do some chord progression. I don't know if we have any gamers.

I'm going to compare music theory to a game. And while that's just for fun, it's definitely going to help you understand it and remember it.

There are three different roles in music theory: there's tonic, dominant, subdominant. When we were in elementary school, we learned grand dashes, dashes, and dashes.

That's what this is. Anyway, these three roles are interesting.

Let's call each one a tank, a dealer, a healer. You can use Roll, you can use Overwatch. The tonic chord, the tank, is the one that holds the whole ensemble together in the front and the back of the chord progression.

And that's probably the most essential role group of chord progress.

The dominance, we'll call it the dealer. That's the next most important role after the tonic chord. Sometimes the dealer's behind the tanker, or sometimes the tanker's behind the dealer to protect the dealer.

If you compare this to the progress of your chord, here's what happens.

There's a dominant progression in the tonic, which is a good Gukbap progression to get into at the beginning of a chord.

You know there's a dominant tonic progress. Connecting it from a dominant to a tonic is going to be a very common progress.

The third column is the subdominant. Let's call it a healer. It doesn't do anything without a tanker or dealer, but if you mix this healer into the union, it becomes a very rich and powerful chord progression.

If you go from dominant to subdominant, it's going to give you a nice, natural progression midway through your chord.

Conversely, subdominant dominant connections can be much more natural and effective. So we can also end a song with subdominant tonic.

It's not used as much as a dominant tonic, but it's still a pretty typical way to end a song.

Just because a lot of people use it in churches, it's called a church ending. I'll let it slide. So this is an example of a game, and it's kind of fun to break it down into role roles, where each role has a character.

The tonic chord can be one degree major, three-degree minor, or six-degree minor.

You can call it 1-3-6 for convenience's sake.

One-degree major is the underlying chord. Three-degree minor, six-degree minor—that's the proxy chord for the tonic.

By the way, one degree on a C major scale is C, three degrees is E minor, and six degrees is A minor.

For the dominant chord, you just need to remember 5 degrees. The 7-degree dominant chord is the proxy chord for the dominant.

It went into the coffin. So you just need to remember 5 degrees. In the C major scale, that's G.

Subdominant chord is four major, two minor. On the C major scale, it's one F chord, one D minor chord.

I'll memorize all of them. The tonic chord is one, three, and six degrees, and the dominant is five degrees, and the subdominant is four and two degrees.

The first one, five, and four are the main three chords.

Third, sixth, and second—they're the substitute chords. And by the way, one, five, four on a C major scale, all three major chords are in major key.

Three, six, two on the other hand, they're all minor key.

That's a bit too much, but those are fundamental theories that you need to know and are the foundation of harmony, so even if you rewind it, you still need to understand it.

Then let's get started. Let's get started.

So we've got three roles here: tonic, dominant, and subdominant. You can think of them as being the combination of four people: T, SD, T.

But you seem to know them. T, SD, D. You seem to know these combinations and various types of things.

The combination I'm showing you as an example is T-SD-T going on. So we seem to know how to create a combination of six types of chords we mentioned earlier.

So I've created a mixture of all of T, D, SD, T. So I'm going to listen to a few examples of it here.

One degree Major seems to know her. 5th degree Major, and 4th degree Major. Ending with 1 degree Major again.

It's composed of three main chords, so it's a natural process, but it can be very boring. It's also comprised of major chords, so it doesn't feel tense at all.

If you add a minor chord, a proxy chord, you can add tension.

At the end, I'll change the 1-degree major to a 6-degree minor, a proxy chord, so that it flows smoothly, and I'll change it to a chord progression that makes it tense at the end.

There you go. As we went from this four-degree major to this six-degree minor, that's when the tension really kicked in.

What if instead of using a six-degree proxy chord for the tonic, you use a three-degree minor?

This time, we went from 4 degrees to 3 degrees, so the tension is increasing. That should give you an idea of what's going on.

There are three roles: tonic, dominant, and subdominant. Second, there are six characters in the three roles: one, three, six, five, four, two.

There are six chords. Third, if you form your own combination and place these chords in place, you're a chord breaker.

Using theory to make a chord jam, that's it.

Simple, right? So I know I've worked out a combination of 16 possible ways to do it, but I think you don't need to do anything crazy like this.

Instead, just input the right chord from this combination and come up with a combination that will sound better to you. I've listened to all of them, and I like this one.

Let me give you an example. So I've got a C major here. That's going to look really lame. That's going to look really basic, so I'm just going to drag the whole thing.

I'm going to move the songs one by one and change the scale of the songs.

Now, it's amazing, every time you do a transfer, the mood of your chord progress changes dramatically. There's a feeling on every scale.

There's a lot of this stuff out on the Internet. But you find the scale that you're looking for when you're doing the transference with your ears.

I'm on C major and I'm down four spaces, and oh, yeah. G sharp? I don't think it's G sharp major, it's going to be A flat major.

And then from there, it's going to be exactly what we talked about in the first movie.

We're going to go voicing, tension, and then go from there. The mid-notes go up an octave in the middle.

And then in your first chord, you're going to type a line in your fifth note, and then you're just going to go click, click, click, click, and then you're going to listen to it until you find the one that you like.

Don't put the tension notes at the top. Take them down an octave. And then you just keep trimming it until you're happy with the tension notes.

And that's code done. Let's listen to that and wrap it up. We did one where we did the Theory of Making Code II and it's easier than you think, right?

Actually, music theory is really difficult and really rich. It's even harder if you know what you're doing.

That's why I've been putting off studying about music theory. Until now, I'm not sure if music theory is necessary to make music, but knowing it certainly helps.

For me personally, I don't think you need to study too much and I don't think you need to give up too much.

But if you haven't seen the video, you should. I wish you all a lot of fun with your music, and I'm always rooting for you.

I promise that you'll come back with better content next time. I'm the producer of this show, Arth Nova.

코드 진행 만들기 2편 / 코드 프로그레션 찍는 법 / Chord Progression / 화성학 기초 [알쓰노바]

코드 진행 만들기 2편 / 코드 프로그레션 찍는 법 / Chord Progression / 화성학 기초 [알쓰노바]

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