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Connect two chord progressions

Posted by brekehan 
Connect two chord progressions
January 17, 2011 09:58PM
I finally started understanding the circle of 5ths last night and started a project to experiment with chord progressions and arpeggios.

I made something really neat using Am - i, iv, i, iv.
Today, I made another neat track using Am - i, VI, v, iv, i

I am using synths. The first one sounds mystical but kind of happy. The second one is more depressing. The two don't seem to connect side by side, although they are in the same key. How do I go about coming up with an inbetween connecting piece? Why don't they seem to fit together?

Arpeggios from the first side by side with arpeggios from the second sound like they just don't fit.

Edit:
I want to clarify, because I am not sure if the arranging of the order of the notes in a chord make a difference on its mood. I seem to vaguely remember something about "voicing"...

Progression 1 - (whole, whole, whole, whole)
C4 D4 C4 D4
A3 A3 A3 A3
E3 F3 E3 F3

Progression 2 - (half, half, whole, whole, whole)
C4 A3 B3 D4 C4
A3 F3 G3 A3 A3
E3 C3 E3 F3 E3

I experimented with the order by raising or lowering notes an octave and thought this sounded best. I think the chord names remain the same.



Edited 1 time(s). Last edit at 01/17/2011 10:33PM by brekehan. (view changes)
Re: Connect two chord progressions
January 19, 2011 06:21PM
It must be the way that you're playing them that causes you difficulty in joining them together. There's no musical reason why these progressions can't co-exist in the same piece - they're both in the same key of A minor, although using v instead of V might give you a more modal sound than a tonal one.
Each of your phrases has its own character depending on how you play it (melody, rhythm, tempo, dynamics, metre, etc) so it must be one of those that's causing them to sound disjointed when you join them up and not the chords.
Voicing does have a part to play in how chords flow together but the effects are more subtle than what you are describing.
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