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Posts: 118
Reply with quote  #1 
In Ted's book Modern Chord Progressions he has a long I vi ii V section.

For at least the first several pages he does I vi ii V progressions in C and E.   But I notice that in the key of E he often used  some variation of a G#m chord as the I chord.  I understand that if you drop the root and take the 3 5 and 7 of an E Maj7 then you get a G#m.  But I'm wondering why Ted would use the chord name G#m(with some extensions) rather than E (with some extensions).

I also wanted to share my experience of practicing those pages.  You quickly realize that Ted is showing you the same chord changes over and over with only the optional notes changing.  At first I thought "What's going on here?  He's stuck in a loop. I'm practicing the exact same change over and over."

Then I started hearing the melodies those optional notes were creating and I realized that Teds not just showing cool chord shapes, he also showing us chord melodies.

I actually find that my personal chord vocabulary is expanding faster via practicing Modern Chord Progressions than it did when I would practice with Chord Chemistry because MCP puts the chords in context.  I was playing this weekend and found myself grabbing a chord which I don't remember practicing.  I grabbed it because it had the chord tones and melody note I needed.  I actually found myself thinking "Where did that come from?  How did I know to play that shape?"


Posts: 251
Reply with quote  #2 
Hi Greg,
If the page you are talking about is page 26,  I vi ii V (and iii vi ii V)"  as suggested in the title he uses iii and I ( this can be done since iii is so similar to I and moves so nicely to vi) but you are right that G#min7+ for instance could also be called E (add9).Getting a handle on the interchangeability of I and iii as well as other common diatonic subs can be a great way to expand your chord vocabulary pretty much instantly since just about every minor voicing is a major voicing in disguise!
 I agree that MCP is very melody driven and a great place to learn melodic movement via chords.
all the best


Posts: 64
Reply with quote  #3 

Hi Greg! I too was having difficulty with CC and MCP. books until Tim told me to use CC like a road map or a globe (to see where I wanted to go) And use MCP as a work book by finding a few progressions I liked then apply them to tunes/standards.It works.Peter.


Posts: 118
Reply with quote  #4 
For some reason I wasn't realizing that he was also showing iii vi ii V progressions as well.  Perhaps I was going brain numb from the many many progressions over and over (It is all a bit overwhelming at times)

Yep, the G# makes lots of sense in that context.

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