SONGWRITING: Chords from a Textural Point of View

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Uploaded by on Sep 28, 2010

http://www.creativeguitarstudio.com/

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This Video: September 28, 2010 | Search Videos by Date.
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Andrew Wasson of Creative Guitar Studio answers a viewers question...

Q: Hi Andrew, I'm a long time subscriber, first time question submitter! I'm looking for some tips on using chords for their essence and their character. Kind of like you hear chords used in movie sound tracks & for TV show themes. Ya see, a friend of mine wants me to play some music in their video project, but I'm used to writing songs, i.e.; verse, bridge, chorus, etc. And, leaving behind the standardized motion of chord movement (found in a typical song) is proving very difficult for me. Got any tips you can give me for writing chord progressions like this?
Thanks for awesome guitar lessons,
- James, Portland, Oregon

A: Composing chord changes like you've described is most certainly a very different approach than say, writing chord changes for an average; rock, country, pop, or jazz tune. In popular music, chords are usually functioning within a key center, they'll conform to a harmony and they'll often have a specific recurring groove. Sometimes it's necessary to understand how to both play and write changes that operate in a way that ignores a good deal of what we take for granted.

The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements:
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  • "Sudden" Modulations, Chromatic Mediants and subsequent modulations, and Jazz chords are typical of this style. Learning these patterns/chords can help writing in this style a lot.  Also inversions

  • I actually have the opposite problem, I'm used to writing like this.. but I have/had trouble writing for standard pop/rock tunes. I didn't like music theory because there were too many rules. I'd always start out writing with an "open key" and ignore the rules.

  • that piece in the beginning was really great, reminded me so much of final fantasy especially FFX.

  • ha i come from pretty much the opposite point of view as the guy who sent the question

  • Is that bass in the background an MB-4? :D

  • Thanks for sharing

  • @sangolt88 Here is the answer to your question. When you observe the half steps between the 3rd and 4th, 7th and 1st scale degrees in all major scales. The necessity of keeping this interval relationship accounts for the presence of flats or sharps in the various keys. Hope this all makes sense..

  • @sangolt88 Any major scale is constructed by intervals of whole and half steps. 2,2,1,2,2,2,1. Here is a simple explanation. In the key of C you would start with C as your root. Start at the C note on 5th string 3 fret. go down to the 5th fret (same string) and you have D. Next go to the seventh fret and you have E. From E to F is going to be fret 7(E) to 8(F). <-=-=this is what the 1 is expressing in the intervals I gave 2,2,(1),2,2,2,1. G is going to be fret 10 and so on. And here is the...

  • I play slightly progressive rock and this is exactly how I compose. I just sound out each note until I hear a sound or texture I like, then I go from there. I won't understand the theory of it until after I compose it. I still don't know exactly what I'm doing on some particular compositions... They just come together with the songwriter's most important tool, the ear.

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