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Post by dimondium on Jun 16, 2014 15:00:15 GMT -5
Hello guys! I'm making a composition for a mini-orchestra of sorts, but that's beyond the point. What I need is a good chord progression.
So far, I've got Fm-C-Cm-Ddim7-//Db-Dbm-C7--//F-. ((The // is the start of a new 4 measure phrase, - = 1 measure.)) So what I'm trying to do is exit a minor section and enter a major section, but holding C7 for 2 measures just sounds awkward and isn't as suspenseful when you return to the F. The Db-Dbm works fantastically, but then the bridge doesn't quite...sound good.
In short: Db-Dbm-??-??-F.
Help is appreciated!
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Post by Reedmace Star on Jun 16, 2014 16:14:06 GMT -5
How about replacing C7 with its tritone substitution, G♭7? It builds similar tension towards F, and can be reached trivially from D♭(m) since it lies a fifth below. For example:
D♭–D♭m–D♭m7–G♭7 → F
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Post by dimondium on Jun 16, 2014 18:49:45 GMT -5
How about replacing C7 with its tritone substitution, G♭7? It builds similar tension towards F, and can be reached trivially from D♭(m) since it lies a fifth below. For example: D♭–D♭m–D♭m7–G♭7 → FAh, that's marvelous! I can't believe I never thought of Gb(7), considering I used it quite a lot in the last part. That was much better than me thinking to hold C for a measure, then C7. Thanks!
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