In other words, every note in the scale is associated with a chord. The chord structure for the minor scale is the same for all keys. With this I mean that the order in which the major and minor chords appear is always the same. The first note of a minor key is always associated with a minor chord, the second note always with a minor chord, and so on. Here it is: As you can see, some of the chord numerals, on the first row of the table, have a flat sign in front.
Random Composition Most of the time a chord progression in a minor key will start and end on the first chord of the key i. Throw a dice 3 times and write the resulting numbers down. Start with the first chord in the key in the key of C minor the first chord is C minor. Look at the first number you got from the dice. If this number is 1, then you use the first chord.
Otherwise you need to add 1 to the number, then take the corresponding chords. Our first number is 6, we add one to get 7, so we get the 7th chord Bb Do the same for the other numbers. If you, for example, start with C it will never sound bad if you continue with F or G. It is quite easy to find a pair of chords that fit together and it is enough to mention a few examples before we go on with longer progressions.
In other words: Am to Em or Em to Am works well in both cases. To learn which triples of chords that functions well together is really useful. Many riffs and choruses are constructed with only three chords. These triples of chords can be played in different orders, but the first letter make up the tonal center and establish the key. The categories listed above have all very distinct relations to each other.
When you try to add a fourth major chord, it will not always sound absolutely right. The most common way is instead to incorporate minor chords, but before we come to that we will try to add a fourth, non-diatonic, major chord i. So if you wish to create longer progressions for your rock song riffs or whatever, here is a list with four-chord progressions that sound good together non-diatonic chords in bold.
Far from all guitarists knows that it is possible to add yet another major chord which tones is partly outside the key. These chords are even far away from the key since its relative minor isn't in the key as was the case above. Therefore, it will be more important where you put this second non-diatonic chord in sequences to make it sound great; otherwise, it could be too much dissonance.
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