Okay, let's make a core progression. Now. Core progression is simply put, a progression of courts. It's what just about every single song you've ever heard is based on. You can think of a core progression as like the skeleton of a song. We we take a core progression and then we add bass drums, vocals, guitars, keyboards, other stuff to it. And that's what makes up a song. So now that we know how keys work, we can figure out what cords are gonna work. So let's start with a Ah, we're in the key of C. Let's start with a C major chord. See e g 13 and five. Okay, let's take the all the way to the end of this beat. Now let's add another court. Um, I can start my court on any available note in the key. Let's dio um ah, let's do yes, I want to Money notes. Here it's cycling over, so I have C two C. Now let's do a so a see clip, Skip B and then I'm going to skip D and then go to E O E. So 135 in a make that now what? Let's go to two. How about two? Um, so I'm gonna start on a D. The reason I sa...
id to is because we call this the two chord a chord built on the second scale degree. We'll talk more about that later. Um, so let's start on it. So we're gonna build a D court here, so it's gonna be d skip one f is my f and then Skip one. And now let's do How about a G chord? Uh, so I built G. I'm going to skip a and have a B. I skip, see, and I go to de Ah, Okay, Now I have a little chord progression. Let's get rid of my extra notes here, and let's slow this way down so that it kind of feels better. Let's just here. Okay, So the core progression I have here is C major to A to 34 a minor to D minor to G major. So I have see Major, a minor D minor and G major. Now, one thing you can take away from this, other than how to build courts, is that a typical core progression alternates between major and minor chords, not alternates as in. There's a major court than a minor chord that it made record on my record. It's not that systematic. It's that a core progression is made up of some major chords and some minor chords. That doesn't mean that when you're hearing the major chord, it sounds happy. And when you're hearing the minor recorded sound sad, Um, it's that the whole thing, the whole core progression, is going to give a sense of how this song feels. So this one has a bit of a sad sounds good, I think. But I could probably make this feel reasonably happy if I just sped it up on. Then let's you know what? Let's just let's just get weird with it. Um, let's throw some kind of little drum groove on it. Um, we find something built in here bouncy. I hate that. I hate that Luke by me. Use it anyway. Ah, let's just here we got sounds pretty happy. Now. It's all about contacts. So our first court progression Now, as we move into the next section, we're gonna talk about this this term called a diatonic chord progression. Um, I want to spend a lot of time on that because that is how we write songs as how we write stuff. It is. Ah, well, I'll leave you in suspense. Let's jump over to that next.