Chord Progressions S&D

A passing chord on the way to IV - I meant to say in that last part

george's "beware of darkness" is a weird and beautiful one, isn't it?

Yes. I put it on now and followed it along and it's uncanny.

I was thinking about the song Rumble. Obviously it's just a blues, except for the fact that it has that flat VII sus chord that resolves to the I, and then resolves to the IV, and then resolves to the V. Did Link invent that? It's so weird and awesome.

Oh is that what that is, cool. That song rules.

"memories fade" by tears for fears, tonal center is e minor. i absolutely love the chorus progression.

b minor to b major(!) to c major to a minor

Just a side question: does anyone see chords as particular shapes or colors? Major-major7th chrods (like Cmaj7) always strike as very round and soft, and of a light shade, such as a pastel. Contrarily, major-minor7th chords (like C7) strike me as angular and harder, and a brighter color, such as red.

For the record, I generally don't hold too many biases with chords, and use them as I see fit (which basically means, I play what sounds good to me, or in rare cases, use them for particular effects) -- but I will say that I don't generally like major-major 7th chords. To me, they seem *too* passive. Debussy used them, and for that, I must grant them credence, for he somehow made them sound credible, but he also did wonders with flatted 7ths, and using 9ths, and making chords that sounded heavenly (and just a bit erotic).

― dleone, Monday, June 10, 2002 8:00 PM (twenty years ago) bookmarkflaglink

I find this really interesting because I also get soft pastel vibes from major 7ths, but rather than passivity I hear wistful beauty; they're my favorite kind of chord