Hi Janet. Firstly I think Rus has certainly over complicated the situation and Samhayman has also to a certain extent. (Sam is a way better composer though) Rus is trying to impress us with his theory knowledge but in fact when you listen to his music it sounds way simpler than anything that he has been talking about here. Chord substitutions are not a good place to start, end of story. Also the technical names of chords is also quite unnecessary. Rus has not given any advice in any order of learning. Take it slowly first, right back to basics.

A good simple place to start is you mention that you are using 3 chords often within a key. (maybe a fourth!) Every major key has 7 chords present. Chords are best remembered by their chord number. eg I Chord, II Chord, III chord etc so in the key of C start by thinking triads first.

Chords are

I        Maj  (Maj 7)
II       Min  (Min 7)
III      Min  (Min 7)
IV      Maj  (Maj 7)
V       Maj  (Dom 7)
VI      Min  (Min 7)
VII     Dim (Half dim)

So for a start we now have 7 chords instead of 4 so that is more. Learn to use all the scale chords rather than just a few. eg just using triads only there are three chord types present. Major, Minor and Diminished. Try using the diminished chord, it has got that leave you hanging feeling, use it! With seventh chords there are 4 chord types now, Major, Minor, Dominant and half Diminished, extra chord colour now, the Dominant chord! (Bluesy!)

If you apply this to all 12 keys now you have 84 chords available to you. By using the I chord, II chord approach etc you can apply this easily to all 12 keys. A lot more now than the 3 or 4 you were using before. Many chords are in several keys. They are good chords to do key changes. (eg A Min is the II chord in G Maj but it is also the III chord in F Maj and also the VI chord in C Maj etc, what a great way to do key changes without anyone knowing what you are up to) Add the 4th note to these and the seventh chords all emerge now and they are more colourful. (Chord names in brackets above)

Bristol makes an excellent point. Stop thinking chord progression first. Good music or songs are rarely formed that way. Think melody first. Don't be afraid to make a chromatic jump melody wise. It just means you are in a new key, even if its temporary. Practice creating melodies and finding the right chords to fit. Try and create melodies that have emotional appeal and effect you emotionally. That is the trick. Sometimes the most simple melodies over basic chord progressions are powerful. That has nothing to do with heavy theory! (Check out Gotye, songs like Somebody I used to Know to see what I mean. Nothing hard or complicated about that is there but wow what a song.) 

Herb also brings up an excellent point too in his post. You can use any chord from any key as long as it sounds good.  You are not obliged to only use the scale chords from any given key. If it sounds good then that is fine.  (Miles Davis used a very unrelated chord in one of his tunes once and after many attempts to analyse it by experts he was finally asked where did that chord come from and why did you use it and he simply said because I thought it sounded good at the time!)

That will keep you busy for yonks. Now once you have got all that down do it all again with the minor keys. Except there are 3 minor scales now for each key. Once you have got all that down then you could possibly look at chord substitution or re harmonization. But that is a long way off. You can't substitute or re harmonize any chords until you have all the stuff I have mentioned down first.

Another good place to study is the blues forms and the chords that usually exist within a blues progression. Another great thing to do is transcribe the melodies and chords from songs you know and love. You will learn more about music that way than any other approach. (Watch out for Steely Dan though, they will keep you busy for years)

The modes are also a very worthwhile thing to get into as well. These are the scales that form over the scale chords. What is interesting about the modes is the Tone/Semitone relationship between all the notes and the sound that is created out of them.

Also what all the parts are doing rhythmically behind the melody and chord progressions is the real interesting part. Once again check out all the songs on Gotye's album Making Mirrors. Often quite simple melodies and chords but fascinating rhythm parts going on behind. This is where nearly everyone falls down. I hear a lot of nice melodies and chords but what the parts are doing rhythmically in most people's music is dull and boring and been done to death a million times before, get out of that and come up with some more interesting ideas there.

^ You're right, but you could say that regarding lots of people which it boils down to opinion. Classical pianists, Jazz pianists, Guitarists, etc. My theory rhetoric isn't any more trying to impress somebody then a 10 minute solo.

However, I get the feeling you think I mean, she should use all of this stuff immediately. I'm not saying that. I'm saying it's out there and here's what it is if she decides to use it.

And, you're dropping a list of what to use, too. It's not as in-depth and I'm not saying it doesn't impress me or that you're trying to.

All I did was explain and apply the techniques. Somehow the application part turned into trying to impress.

I'm not against taking things slow, but I am one of those persons who lays everything out on the table allowing you to pick up whatever amount at a time, hoping you eventually get all of it. I'm not trying to impress.

That to me is a cop out. I write like this. Most of you who've heard my tracks can identify me instantly (whether you like them or not). I'm not gonna "dial it down," so not to impress somebody.

I will explain why I write/analyze the way I do though:

1. I like the sense of beginning and ending (even if this doesn't happen)

CMaj9-A7b9-Dm7-G13b9-C (I-VI(V7/ii)-ii-V-I)
CMaj9-Dbdim7-Dm7-Db7#9-C (I-bII-ii-bII(subV/V)-I
CMaj9-A7#5b9-AbMaj9-G7b9-CMaj9 (I-VI(V7/ii)-bVI-V-I)

All three have a completeness to them.

Em7-Edim7-Dm7-E-C (iii-iiio-ii-III-I)

How are there three iiis in this progression? There's no "movement." However, they are subs which is why they do work, but that to me looks odd. [The III and iiio don't exist when not in the function context)

I don't mind analyzing in a simpler manner; however, you're just hearing it. you could say every composer who uses the techniques mentioned (whether composing or performing) are using such to impress people, but you aren't against the "if it sounds good, it is good" philosophy either.

You can stick more than one label for a note, chord or key. "He's trying to prove something by playing in seven sharps instead of five flats." Makes no difference if you're just hearing, but if you are seeing it, yes it does make a difference.

I'm merely explaining the what to use, how to use it and why to use it because people do ask. I never said, you have to use it.

I'm not upset and I still don't disagree with what you said because I do tend to overspeak, overemphasize which does lead to puzzlement. I'm used to such responses, but there are a few different ways to approach what Janet is trying to accomplish. Which route she takes is up to her. We can merely suggest which ones.

"Rus W"

Go there if you dare!

Thanks for the link. Looks interesting at first glance. 


Addition :: The iBreaththeMusic.com link that is.

When ever I get bored I take another look at this and start mashing chords together to see if my brain will spark a melody to place on top of some fresh new sequence:

http://www.harmoniccycle.com/hc/music-02-chord.htm

As Jonesey and Jeff have mentioned, a good way to avoid 'the usual chords' is to start with the melody, and fit chords to it. I think a lot of the time 'muscle memory' can take over and you end up heading for tried and tested progressions.

try your hand at learning some classic Steely Dan

that'll do it


buy a song book, and go at it.....

And what happened to the Augmented Chord (the Diminished was mentioned)?? (transitional chords)

Transitional chords - you can play I, IV, V, or go the long way and stick some other chords in there and eventually get to the IV, or the V.
 
Then you start playing 4 note chords, then 5 note chords, and then you twist your fingers around and play 6 notes with one 5 finger hand.
Someone wanted to play jazz on a trumpet and wanted me to stick these chords in a free form flow (no beat actually), but I never heard back from him.
So although boring here those 6 note chords in a video for the heck of it I guess: 
http://www.youtube.com/watch?v=73qFicKq2fQ 

Don't ask what those chords are though, I did it in midi first of all or else I could not tell again what was played anyway. I think I did figure it out one day but anymore I can't remember. Figure it out some day again someday perhaps.
Got to give credit to some jazz players they always come up with sticking other chords in to get somewhere else with the normal chords.

Someone stated that to make music,  "sit down and make mistakes". (those mistakes are really never done on purpose but) That way you come up with something different and even sometimes it will sound better (or you may incorporate it into the song) because you got out of the rut of having been bombarded with the usual I, IV, V, which one day got old and sickening although it is played more than anything else. I am sure jazz players put real effort into finding different chords for a progression.

Anything else I do not know, but usually sometimes try and figure it out.

Thanks for all your ideas, guys.  I'm sure I can glean plenty here to keep me busy for eons.  Whether I'll stick to it or not is the question...but I am curious about your opinions. And if I glean one or two new tricks, then that's good.

The mistakes, Herb...yes, I've come up with some pretty cool chords quite by accident.  A better musician would probably know to go there, but...  Sometimes I've just started on the black keys to get new ideas.  As for starting with melody, then adding chords...I guess I sorta do that, but quickly get stuck in the same ol' chord ruts, which is why I posed this question.
But let's please not start throwing things at each other around here.  Any answer is good (to me) and quite welcome...long, short, in between, advanced, beginners, proud, humble...whatever...it makes no difference to me.  I really just wanna hear ideas from you good musicians.  I can and will, pick and choose as I see fit and have time and inclination.  

So, thanks.  :)  

Keep paper with pencil or pen notes (harder to do than it is actually done though it seems).

So, Janet, I know you are a keys player, so I am not sure this would translate to you.  Sometimes when I am not sure where I want to go with a progression next, like switching to a chorus or bridge, I will use the bass strings to try out patterns.  Basically, play the root notes on the bass strings or actual bass.  I simplify down to one string and what note might sound interesting as the chord change.  Not sure if that makes sense.

From there, I will then dive into deciding if the chord is a major, minor, 7th, what ever might make the progression more interesting or fit the mood of your words better.
 
Obviously, I chould just look at a chord progression chart for some suggestions or ideas, but I find that simplifying and then really listening to the root notes helps me to figure out where my ear wants to go.