Favorite Chords - S01
EP01 - Major 9 Poly
One of the sounds I use most often is a Major 9th chord, specifically one built from two open-voiced major triads. For example, a C Major 9 chord consists of a C major triad (C-E-G) and a G major triad (G-B-D), both using open voicing (C-G-E and G-D-B). The G major triad is built starting on the fifth of the C major triad. The result is a voicing of C-G-D-E-B. One could also use a Polychord-style notation to express the sound. In this case G upon C.
Here is the chord structure using the
Diatonic Interval-Based Notation: 1-5-9-11-14
and
Chromatic Interval-Based Notation: 0-7-14-16-23
EP02 - Vi-ii-I/III-IV?
This progression uses four diatonic chords: vi–ii–I/III–IV in D♭ major. Although these chords also fit into the G♭ major scale as iii–vi–V/III–I, one could hint at both possibilities when writing a melody… hmmm.
EP03 MOO-Chords
I first stumbled upon Mu chords about 20 years ago—though I don’t think they were called that at the time. It all started with a new voicing for a Cadd9/E chord on guitar (E2 - D3 - G3 - C4), which opened up many new possibilities, especially as passing chords.
Mu chords, or “Moo” chords, are essentially triads with an added 9th, often featuring the third in the bass. I was recently reminded of this beautiful sound while browsing the fantastic Open Studio YouTube channel.
EP04 Lydian Fixation
I can’t blame George Russell for insisting that the Lydian sound is the true center of a key. After years of making music, I often find myself crafting chord progressions that resolve to a Lydian chord.
EP05 ii–vi–IV–bVII
Perfect for laid-back sessions and ambient explorations
EP06
Reharmonization of one of my favorite progressions:
Gsus → G → Fsus → F
Reimagined with subtle Jazz and LoFi color
EP07
Centered around a favorite: the dreamy F Lydian sus♯4 triad.
Fsus♯4 → Esus4 → Am
A subtle dance between tension and release.
Weightless, wistful, and made for quiet times.
EP08
This one walks the line between calm and curious.
The final A7add9 (Secondary dominant: V7/vi) → Cmaj9 adds a subtle brightness.
EP09
Am → F → Em → C
Fsus2 → Csus2 → Fsus2 → G
This one reminds me of something I can’t place anymore.
EP10
The progression starts in D Aeolian but concludes with the color of C Mixolydian, without ever fully resolving.
No cadences, no resolution. Just motion within a frame.