Can someone explain to me what a chord progression is...?

Question

and how to formulate one?
thanks

Answer 1

Major chords are made up of the first , third, and fifth degree of the scale.
The C scale is C-D-E-F-G-A-B-C. Thus a C Major chord is structured using the notes C-E-G.
For a chord progression in the key of C, or C scale you use each consecutive note of the scale as the first note of the chord. So continue on to D add the third note that follows after, which is F. Then add the fifth A. There you have it a new chord or the next chord in the progression. Now continue on with the remaining notes until you have all seven chords in the progression.
This is as basic as I can explain it. There is much more involved, but this should get you started.
Contact me if I can help you further.

Answer 2

Everyone has pretty much gotten it right. I'll try to explain as best as I can. There are things called secondary function chords. In traditional harmony, these can be diminished or half diminished chords and dominant chords. If you see a chord that is foreign to the key you are in, then chances are that it is a vii chord if diminished/half diminished or a V chord if major or dominant 7 to a note that does belong in the key. I'll use the example given earlier in C. D is the ii chord in the key of C and would be a m7 since both the F# and C# of D major are lowered to fit the key of C. If you have a D7 (D, F#, A, C) then the F# sharp does not fit C, so the chord is then not a II7, which doesn't really exist in traditional harmony, bit it is functioning as a V7 of G which is the V chord of C. It is written V7/V(V of V). Any note in the C scale can be a "temporary" tonic through this technique. In the key of C, a B7 would be a V7/iii since B is the V of E which is iii in this key and it's notes don't fit in the key of C. Another example is F#o(dim) in C would function as viio/V since F#dim is viio of G which is V in this key. Traditionally, V chords would only by used as a Major or Dominant 7 chord. In your example you give a II maj 7 meaning in the key of C it would be a Dmaj7 (D, F#, A, C#) and does not work in the key of G, which is where we are temporarily moving to, but that is traditionally. Starting with the later romantic composers and the French composers like Debussy and Ravel, rules were broken all over the place and they started using altered dominant and altered mediant (3rd and 6rd of a scale) chords, where they would alter any of the notes that would normally be used. So you could even have a D+7 and still have it function as a V of G, not to mention all the alterations that could be added once you start adding the 9, 11, and 13 to a chord. Jazz and pop have used this technique extensively especially when used to alter the ii/V/I progression. P.S. The VMaj7/V chord does not do a very good job of making us feel like we are in a key so it is also important to also check out the melody and often time it will help you understand why the chord was altered. Many time, the altered note, in this case the C#, is part of the melody or may serve as a function in relation to the melodic content of the song, either by adding a strong dissonance or a interesting harmony to the melody if it is not part of it.