Uploaded April 2018 | Updated September 2026, 1 week ago
UPDATE: Also look for Part 2 of this series. See below for details.
This is Part 1 of the essential intermediate harmonic (chord) theory that producers need for creating rich and interesting chord progressions. In this video I explain how to build chord progressions that are based on a "Regular Cadence", and I also explain how to add spice and interest to these chord progressions by using in-scale substitutions and modal interchange.
Scaler makes building progressions like this dirt easy with only a small handful of easy-to-remember rules and concepts that you need to understand.
In Part 2, I explain how to build chord progressions that are based on a "Half Cadence". After absorbing the simple ideas in Parts 1 and 2, you will know 95% of everything there is to know about writing chord progressions, and you'll be able to -understand- why some neat chord progression you're looking at actually works!
Link to Part 2: youtu.be/cV3srv2Wq3M
IMPORTANT: I strongly recommend you first watch great 4-minute video to have some context for the stuff I show in this video. Go watch it, then come back here!
youtu.be/1dRA28cdt5c
APOLOGY: I realized belatedly that I forgot to mention how to write melodies that work over chords borrowed from other scales/modes. Thankfully, that's super easy and the other 4-minute video linked to above describes that just as well as I could.
Where to find Scaler:
pluginboutique.com/product/3-Studio-Tools/72-Utility/3933-Scaler
==============================
HARMONIC THEORY IN A NUTSHELL - Part 1 of 2
-----
Cadences:
5 to 1
4 to 1
Note: Cadences do have a bit more depth than this. What I've listed is definitely how you want to end a chord progression before looping it around, like the period that ends a sentence. However, there are some other cadences you can employ inside the chord progression, like the comma that separates two thoughts in a sentence. Check the following link for deets:
web.archive.org/web/20190619015057/https://www3.northern.edu/wieland/theory/harmony/cadences.htm
-----
The Magic Chords:
1 4 5 6
-----
In-Scale Chord Substitutions:
1 3 6
2 4
5 7
Wherever you see a 3, think of it as "really being a 1 or 6"
Wherever you see a 2, think of it as "really being a 4"
Wherever you see a 7, think of it as "really being a 5"
-----
Rules for Sweet-Sounding Chord Progressions:
1. Nearly always end with a Cadence (5 to 1 or 4 to 1)
2. Start with any chord number you want, but 1 is always a "safe"
choice
3. Put literally anything you want in the middle between the starting
chord and the cadence
4. Substitute nearly any 1 with 3 or 6 instead, any 3 with 1 or 6, or
any 6 with 1 or 3
5. Substitute nearly any 4 with 2 or vice-versa
6. Substitute nearlay any 5 with 7 or vice-versa
7. Borrow the same chord number from any other scale/mode with
the same tonic (root)
-----
Rule for Sweet-Sounding Melodies when using borrowed chords from other scales/modes:
Simply use scale tones from the borrowed mode in the section where that borrowed chord is playing
UPDATE: Also look for Part 2 of this series. See below for details.
This is Part 1 of the essential intermediate harmonic (chord) theory that producers need for creating rich and interesting chord progressions. In this video I explain how to build chord progressions that are based on a "Regular Cadence", and I also explain how to add spice and interest to these chord progressions by using in-scale substitutions and modal interchange.
Scaler makes building progressions like this dirt easy with only a small handful of easy-to-remember rules and concepts that you need to understand.
In Part 2, I explain how to build chord progressions that are based on a "Half Cadence". After absorbing the simple ideas in Parts 1 and 2, you will know 95% of everything there is to know about writing chord progressions, and you'll be able to -understand- why some neat chord progression you're looking at actually works!
Link to Part 2: youtu.be/cV3srv2Wq3M
IMPORTANT: I strongly recommend you first watch great 4-minute video to have some context for the stuff I show in this video. Go watch it, then come back here!
youtu.be/1dRA28cdt5c
APOLOGY: I realized belatedly that I forgot to mention how to write melodies that work over chords borrowed from other scales/modes. Thankfully, that's super easy and the other 4-minute video linked to above describes that just as well as I could.
Where to find Scaler:
pluginboutique.com/product/3-Studio-Tools/72-Utility/3933-Scaler
==============================
HARMONIC THEORY IN A NUTSHELL - Part 1 of 2
-----
Cadences:
5 to 1
4 to 1
Note: Cadences do have a bit more depth than this. What I've listed is definitely how you want to end a chord progression before looping it around, like the period that ends a sentence. However, there are some other cadences you can employ inside the chord progression, like the comma that separates two thoughts in a sentence. Check the following link for deets:
web.archive.org/web/20190619015057/https://www3.northern.edu/wieland/theory/harmony/cadences.htm
-----
The Magic Chords:
1 4 5 6
-----
In-Scale Chord Substitutions:
1 3 6
2 4
5 7
Wherever you see a 3, think of it as "really being a 1 or 6"
Wherever you see a 2, think of it as "really being a 4"
Wherever you see a 7, think of it as "really being a 5"
-----
Rules for Sweet-Sounding Chord Progressions:
1. Nearly always end with a Cadence (5 to 1 or 4 to 1)
2. Start with any chord number you want, but 1 is always a "safe"
choice
3. Put literally anything you want in the middle between the starting
chord and the cadence
4. Substitute nearly any 1 with 3 or 6 instead, any 3 with 1 or 6, or
any 6 with 1 or 3
5. Substitute nearly any 4 with 2 or vice-versa
6. Substitute nearlay any 5 with 7 or vice-versa
7. Borrow the same chord number from any other scale/mode with
the same tonic (root)
-----
Rule for Sweet-Sounding Melodies when using borrowed chords from other scales/modes:
Simply use scale tones from the borrowed mode in the section where that borrowed chord is playing
