I'm trying to learn music theory, chord progressions, how to write melodies, etc.

[XionDub]

If you have any info please share, I'm trying my best to learn and am willing to share everything I learn.
I feel the need to completely understand why chords sound good together, or why certain notes sound happy or sad.

I would like to be able to create music that I personally enjoy and understand. I know this topic is something that confuses a lot of people, but if we all can help each other out we can all learn together.

Thanks,
-Xion

[jervis]

I feel the need to completely understand why chords sound good together [...]

https://youtu.be/MB7ZOdp__gQ?t=28m30s

[xbitz]

for me it was the best http://www.amazon.com/COMPOSE-YOURSELF- ... op?ie=UTF8

[Michael L]

Thanks xbitz for your recommendation of Compose Yourself. I downloaded it as a Kindle ebook for $3.05USD. Such a labour of love, and precisely what I was looking for!

[Nickel Smith]

The best way to learn about music is to find a teacher. That is to say, a person. Forget books, videos, websites.

[Touch The Universe]

take a class for 300 dollars at a community college

[thomni]

Going to piggyback on this thread instead of creating a new one...

Do you keep the number of voices across your chord progressions equal, or change them up as you see fit?

E.g. I-IV-V7 (C+E+G -> F+A+C -> G+B[+D]+F)

I know that four-voice writing is a thing (big thing), but would you aim to only use three notes and then use four like in the case of the dom 7?

Guitar I'd imagine would utilize all 6 or so strings when playing rhythm, but on piano it's not so set in stone.

Any thoughts / insight?

[Touch The Universe]

Going to piggyback on this thread instead of creating a new one...

Do you keep the number of voices across your chord progressions equal, or change them up as you see fit?

E.g. I-IV-V7 (C+E+G -> F+A+C -> G+B[+D]+F)

I know that four-voice writing is a thing (big thing), but would you aim to only use three notes and then use four like in the case of the dom 7?

Guitar I'd imagine would utilize all 6 or so strings when playing rhythm, but on piano it's not so set in stone.

Any thoughts / insight?

That seems alright, it's even permissable in four part writing to use 3 roots and a 3rd, which would only be two notes, so reversing it to add another would be fine i think, (as long as it sounds good), but on the 7th chord as far as voice leading goes, you should avoid doubling the leading tone, cheers

[thomni]

Going to piggyback on this thread instead of creating a new one...

Do you keep the number of voices across your chord progressions equal, or change them up as you see fit?

E.g. I-IV-V7 (C+E+G -> F+A+C -> G+B[+D]+F)

I know that four-voice writing is a thing (big thing), but would you aim to only use three notes and then use four like in the case of the dom 7?

Guitar I'd imagine would utilize all 6 or so strings when playing rhythm, but on piano it's not so set in stone.

Any thoughts / insight?

That seems alright, it's even permissable in four part writing to use 3 roots and a 3rd, which would only be two notes, so reversing it to add another would be fine i think, (as long as it sounds good), but on the 7th chord as far as voice leading goes, you should avoid doubling the leading tone, cheers

You think including the F of Fmaj and the F of G7 is something to avoid?

[Touch The Universe]

Going to piggyback on this thread instead of creating a new one...

Do you keep the number of voices across your chord progressions equal, or change them up as you see fit?

E.g. I-IV-V7 (C+E+G -> F+A+C -> G+B[+D]+F)

I know that four-voice writing is a thing (big thing), but would you aim to only use three notes and then use four like in the case of the dom 7?

Guitar I'd imagine would utilize all 6 or so strings when playing rhythm, but on piano it's not so set in stone.

Any thoughts / insight?

That seems alright, it's even permissable in four part writing to use 3 roots and a 3rd, which would only be two notes, so reversing it to add another would be fine i think, (as long as it sounds good), but on the 7th chord as far as voice leading goes, you should avoid doubling the leading tone, cheers

You think including the F of Fmaj and the F of G7 is something to avoid?

Sorry I read your post too quickly, going by your chords you would be in the key of c major and your roots would be the I-IV-V scale degrees where the V is then a seventh. I was thinking you were jumping I-IV-VII by mistake. in this case it would be inadvisable to double the b note in the chords, according to voice leading anways, and its looks like you didn't do that. You should be good to go, just go by what sounds good, sometimes I have fifths then add another fifth with some inversion of a seventh at parts, so it'd go 3,3,7, or some random jumping around. If it sounds good go for it

[NKF]

You don't need a teacher but they can help you not waste time with books that are rubbish.

Harmony and Voice Leading by Aldwell, Edward 4th

This is pretty much a book that will cover knowing nothing to late romanticism. It has exercises, audio examples and keyboard paradigms to really learn the voicings and movement and it only really requires the abiltiy to read music and time.

2 years , 2 hours a day will make you competent if you just follow that book. You will be great at regurgitating those progressions you find pleasant. The only problem is that as you learn theory. you start to notice how those progressions you loved are quite banal and painful to hear,

[Touch The Universe]

sounds good, got an example of romanticism pieces?

[deastman]

Harmony and Voice Leading by Aldwell, Edward 4th

Wow, that's an expensive book!

[NKF]

It isn't that much. I think that price is just a user selling it. You can find free older editions online. If you live somewhere with a music school, they will have it and you can photocopy it. I remember paying around 60 for a used copy around 2000 ish

[Shabdahbriah]

http://musicteachingresources.com/intervals.html