Ok, My knowledge of chords is only very basic but here goes.

For a simplistic 1, 6, 2, 5 in C(C, Am, Dm and G), I like to do these Subsitutions for 1, 6, 2, 5 in C(Cadd9, Am9, Dm7 and Gadd9). That example is very basic. Fellow forum members please add your ideas to this topic. This chord progression can and could be applied to all 12 major keys. Once again, I would like to thank Pebber and everyone for all of their help and encouragement for all of us fellow guitar players.

I will add more ideas to this topic.

This could be a cool thread. But not as cool as it would be with videos. Don't be shy, post some! I'd love to see and hear your PGM301 in action.

I agree with dlraben. Let's get some vids happening on this thread. It's the 21st century. On some of these topics (not all) we need to be conversing through videos.

Hi Guitar Player

I look at it like this. C is Major the One Tone, Am is the Sixth tone with a flat Third, Dm is the Second tone with a flat third.
G is the 5th Tone.

Am Chord Scale will have three swaps and variations. Melodic Chord Scales, Harmonic Minor Chord Scales and Natural minor Chord Scales.

Asides from that C M can be replaced with CMaj7 or CMaj6 or CMaj9 or CAug amougst other. The next to both have to contain minor thirds Am can be Adim or Am7 Amin9 Amin 11, or Am 13 like wise for Dmin, D min 9 or D min 7 or D dim or even Dm7b5 or D min 11 as for the G G7, G9,G5th G13,G Aug or any G thing thats not minor or containg a flat third notr

However C is the sane notes as Am. Swap some Am Chord Scales into the mix nore it gets more interesting

A few ideas. Yes I like the #11 on the one chord, I am not a fan of the min2nd rub between the E and the F, but if you would rather use a natural11 be my guest, nat11 on Imaj7 is not my favourite tension in this context...

|Cmaj7#11 Amin6 | Dmin9 G7sus4 G7|

A passing diminished idea...
|Cmaj7#11 C#dim7 Amin6 A#dim7 | Dmin9 D#Dim7 G9 G#dim7|

Tritone Substitution Db7 for G7 (Use Db Lydian Dominant for this brief moment of soloing...)
|Cmaj6/9 Amin7 | Dmin6 Db7 |

Quote: Justip wrote in post #5

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Hi Guitar Player

I look at it like this. C is Major the One Tone, Am is the Sixth tone with a flat Third, Dm is the Second tone with a flat third.
G is the 5th Tone.

Am Chord Scale will have three swaps and variations. Melodic Chord Scales, Harmonic Minor Chord Scales and Natural minor Chord Scales.

Asides from that C M can be replaced with CMaj7 or CMaj6 or CMaj9 or CAug amougst other. The next to both have to contain minor thirds Am can be Adim or Am7 Amin9 Amin 11, or Am 13 like wise for Dmin, D min 9 or D min 7 or D dim or even Dm7b5 or D min 11 as for the G G7, G9,G5th G13,G Aug or any G thing thats not minor or containg a flat third notr

However C is the sane notes as Am. Swap some Am Chord Scales into the mix nore it gets more interesting

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Quote: Scottulus wrote in post #6

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A few ideas. Yes I like the #11 on the one chord, I am not a fan of the min2nd rub between the E and the F, but if you would rather use a natural11 be my guest, nat11 on Imaj7 is not my favourite tension in this context...

|Cmaj7#11 Amin6 | Dmin9 G7sus4 G7|

A passing diminished idea...
|Cmaj7#11 C#dim7 Amin6 A#dim7 | Dmin9 D#Dim7 G9 G#dim7|

Tritone Substitution Db7 for G7 (Use Db Lydian Dominant for this brief moment of soloing...)
|Cmaj6/9 Amin7 | Dmin6 Db7 |

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Another thing relating to chord progressions are passing chords. For instance in the key of C in a I,IV,V or Vdom7. C, F and G(or G7). In between the F and G(or G7) you can play F - D7, G(or G7). 1st inversion C, 1st inversion D7, 2nd inversion G(or G7) as the D7 contains F sharp which is a chromatic movement in G perfect octive

Guitar Player, on the one hand I feel a little bad harping on this--that you really need to post videos to express ideas such as these in context--so please forgive me if you find this irritating. That's not my intention. But on the other hand, I'm not sure any information is really conveyed to other players without providing more than text. Grab a web-cam, hide your face if you like, and let us see/hear you. No need for embarrassment, we all suck in various ways.

Your latest ideas:

1. Sus chords & message in a bottle. Ok. Not much else to say. Easy to learn, unique sound, boring as heck to repeat for 4 minutes. Some of the fill licks over this progression towards the end of the song are cool too. What makes them work? Are they simple licks that can be used anywhere, or does the suspended harmony allow for more?

2. A 1-6-2-5 in C you got from a video. I bet the instructor didn't say, hey, instead of using C, Am, Dm, G just use Cmaj7, Amin9, Dmin11, G7 to sound jazzy. For what purpose were these substitutions used, and how did it open up the possibilities for melodies over this harmony compared to the diatonic triads? Oh, and MOST importantly, how does it sound? Just reading there's a difference isn't helping most people.

3. The 1-6-2-5 in E. Same idea.

4. The 4nps in A. Look up Pebber's scaletone form system, in particular the 4:4 variety, for all the 4nps shapes. I personally feel the 3:3, 3:4, and 4:3 are more practical, but to each their own. At some point the goal is to fluidly play anything without the crutch of shapes/patterns anyway.

5. Playing minor 3rds. Not a bad hand stretching exercise. I used that for awhile (3 finger ladders), but even better would be to include shifts so you can remain in minor 3rds across strings (e.g. 3 nps, 1 nps, 3 nps, etc just for one example). There are other good symmetrical patterns for this too, some more melodic than others. For example, you could play two adjacent pentatonic positions. Once you get that down, you can add a third shape (skipping one or not) using a tapping finger.

Hey Guitarplayer, maybe it would be worthwhile to spend some time with a Method book for a bit? Will Leavitt's are really good and cover all of the basics. Modern Method Of Guitar vol 1,2,3. (my friends are so tired of me harping about 'em...)
Also some lessons with someone? even if they aren't teaching "superduper fireball technique" I bet you learn some important basics.

Also just a bit of a terminology thing here; a Csus2 would be CDG R25 And Csus4 would be CFG R45, and Cadd9 would be CEGD R359 A suspension happens when the 3rd is replaced with a 2nd or a 4th. An "add" happens when the tension/interval is added to the chord, and the 3rd is left.

C9 is a dominant 7th with an added 9th. (a 9th is the same as a maj2nd, just an octave higher. understanding tensions can be tricky. so C9 is CEGBb and D. R35b79 - not the same as a Cadd9. C7add9 maybe... but C9 is a much more common way to label that one...

Anytime you see a chord with just a number, G7 E13 B9 It is dominant. if the tension is altered, you will see it as G7b9 or B7#11.

if a chord is major, it will tell you. Cmaj7. if it is minor, it will tell you. Dmin7. Altered tensions, same deal. Dmaj7#11. etc etc.

Hope that helps.

Hi
Here is a small vid Done in key of C while trying to accommodate chord substitutions. it a C, Am Dm G progression with some alternate fingerings on some chords.
Must admit its not timed just a kind of a give it a go thing.
Chords Used not in any order C,Am, Dm, G, CMaj9, CAug, C13, Am6, Am7, Am9 Dm6,Dm7, Dm9, Gsus, G(no fifth), Gma7, and a G9.