Jump to content


  • Posts

  • Joined

  • Last visited

Profile Information

  • Occupation

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Komplete Ultimate 10, Hollywood Orchestra
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar
    Electric Guitar: Lead
    Electric Guitar: Rhythm
    Vocals: Male

Tolek's Achievements


Newbie (1/14)

  1. So that gives us the notes E G# B# (enharmonically: C). Considering the rest of the chords from the first half of the progression that are derived from the E harmonic minor scale, we can create a hybrid scale: the E minorMajor scale - E F# G G# A B C C# D D#. These notes will sound good if used with the right amount of taste over the progression. To be safe or to give your composition a different flavour, you can use a different scale over each chord. For example: Em - E melodic minor Eaug - E Phrygian Dominant GMaj - G Lydian BMaj - B Phrygian Dominant etc There's plenty of room for experimentation in chord progression like this!
  2. You could classify the first 4 chords under some sort of E minor scale as Em, G and B are part of the E harmonic and melodic minor scale. The outstanding chord here is the G#aug which includes two common notes with E minor: C and E. The G# is borrowed from E Major and creates an unusual kind of tension. The last four chords are simply a ii, IV, vi, I progression in C# Major. To conclude, when you write a melody over these chords you can use E harmonic/melodic minor for the first half and C# Major for the second half. You can't go wrong by targeting 3rds and 7ths of each chord. Hope that helps!
  • Create New...