Citation:
Q: Suggest a followup to this chord progression: I-bVII-I
A: A possible follow-up chord progression to I-bVII-I could be IV-IV-I-IV, which creates a sense of resolution and closure. This progression uses the tonic chord (I) twice and the subdominant chord (IV) twice, creating a strong sense of tonality and a sense of returning to the "home" chord. Additionally, the use of the IV chord in the middle of the progression creates a sense of movement and tension that is resolved by the final tonic chord.
Q: What chord progression do you suggest for transitioning from I-bVII-I to I-V-vii-iii-IV-I-IV-V and then to I-IV-V-IV ?
A: One possible chord progression for transitioning from I-bVII-I to I-V-vii-iii-IV-I-IV-V and then to I-IV-V-IV could be I-bVII-IV-I-V-vi-IV-I-IV-V-IV. This progression uses a variety of chords from the key of the tonic chord (I) to create a sense of movement and tension that is resolved by the final I-IV-V-IV progression. The bVII chord creates a sense of dissonance that is resolved by the IV chord, while the V and vi chords create a sense of tension that is resolved by the I chord. The final I-IV-V-IV progression creates a strong sense of closure and resolution.
Q: Explain why you dropped vii-iii.
A: In the original chord progression that you provided, I-bVII-I to I-V-vii-iii-IV-I-IV-V and then to I-IV-V-IV, the vii and iii chords were not included in the suggested follow-up progression for a few reasons. First, the vii and iii chords are considered dissonant chords, and using them in a progression can create a sense of tension and instability. In this case, using the IV chord instead of the vii and iii chords helps to create a sense of resolution and closure, which is more appropriate for the desired musical effect. Additionally, the IV chord is a more commonly used chord in most musical styles, and its inclusion in the progression helps to establish a strong sense of tonality and a sense of returning to the "home" chord. Finally, the use of the IV chord in the middle of the progression creates a sense of movement and tension that is resolved by the final tonic chord, which helps to create a sense of coherence and flow in the progression.
Q: If I want to preserve this tension, what could you suggest instead?
A: If you want to preserve the tension created by the vii and iii chords in the original chord progression, one possible alternative could be to use the vi and ii chords instead of the IV chord in the suggested follow-up progression. The vi and ii chords are considered consonant chords, but they still create a sense of tension and movement that can be resolved by the final tonic chord. For example, the progression I-bVII-vi-ii-I-IV-V-IV creates a sense of tension and dissonance with the bVII and vi chords, which is resolved by the ii and I chords. The final IV-V-IV progression then creates a strong sense of resolution and closure. Alternatively, you could also try using the bVI and bIII chords instead of the vi and ii chords to create a similar effect. These chords are also consonant chords that create a sense of tension and movement, but they add a slightly different flavor to the progression. For example, the progression I-bVII-bVI-bIII-I-IV-V-IV creates a sense of tension and dissonance with the bVII and bVI chords, which is resolved by the bIII and I chords. The final IV-V-IV progression then creates a strong sense of resolution and closure.
