Chords that sound good together
You strum a chord … and there go to from here? This is a common and natural question. We will try to sort out the answers here.
Regardless which chord you start playing, the next you choose will sound all from just right to completely wrong. Here we focus on what sounds good. If you for example start with C it will never sound bad if you continue with F or G. Let’s do some large organizing of chords that fit nicely together.
Pair of chords
It is quite easy to find a pair of chords that fit together and it's enough to mention a few examples before we go on with bigger groups.
Am – Em
C – Fmaj7
G – Cadd9
You can play these pair of chords in both direction. In others words: Am to Em or Em to Am works well in both cases.
Triples of chords
To learn what chords sound good together in this category is really useful. Many riffs and choruses are constructed with only three chords. As the case was before, these triples of chords can be played in different orders, but the first letter make up the tonal center, so it will established the key and therefore often best to be first in a sequence.
C – F – G
D – G – A
E – A – B
F – Bb – C
G – C – D
A – D – E
B – E – F#
Note that all these triples have the same relationship in distances on the fretboard when you play barre chords and power chords.
Add a fourth (non-diatonic) chord
The categories listed above have all very distinct relationships to each other. When you try to add a fourth major chord, it will not always sound completely right. The most common way is instead to incorporate minor chords, but before we come to that we will try to add a fourth major chord, a non-diatonic chord (i.e. not related to the scale), which in right situations can be very well suited.
So if you wish to create longer progressions for your rock song riffs or whatever, here is the list with four major chords that sound good together (non-diatonic chords in bold).
C – F – G – E
D – G – A – F#
G – B – C – D
E – A – B – G#
F – Bb – C – A
A – C# – D – E
B – E – F# – D#
Once again, if you play barre/power chords you will notice that the fourth added chord will turn up with a certain relationship to the other on the fretboard.
Add another fourth (non-diatonic) chord
Far from all guitarists knows that it is also possible to add yet another major chord that is not in the key. This is even far away from the key because its relative minor isn't in the key as was the case above (the fourth major chord). Therefore, is it more important exactly where you put it in the sequences; otherwise, it could be too much dissonance.
Here are some sequences that include this non-diatonic chord (in bold) together with diatonic chords:
A – E – C – D
F – G# – Bb – C
D – F – G – A
G – Bb – C – D
You could include some minor chords as well, but these sequences was meant to show you different possibilities for major chord exclusively, which for example could help you with power chords progressions. In other words, you could also change the sequences from major to power chords, for example: A5 - E5 - C5 - D5.
Major and minor combined
In many occasions you want both major and minor in your progressions. Here is a list with chord groups that sound good and include both categories.
C – Em – F – Am
D – F#m – G – Bm
E – G#m – A – C#m
F – Am – Bb – Dm
G – Bm – C – Em
A – C#m – D – F#m
B – D#m – E – G#m
These four parts groups are, among other things, great when creating verses in songs. You mustn't of course use all four in every progression. Look at the groups as resources from which you can combine two, three or four chords together.
Do you miss pictures on the chords? Since there are so many suggestions and you could find pictures on other pages on this site, the pictures has been left out. If you feel lost, though, the image below may give you a jump start.
The image probably don't need any explanation, but ... it shows three classic progressions: G - C - D, A - D - E and Am - G - Em.
A final comment
The groups of chords have been based on regular major and minor chords. If you want to add some flavor you can experiment by change a regular major to a major seventh or a regular minor to a minor seventh. Additionally, you can include some sus-chords, preferably in combination with or a substitute for a major chord.
Go to the section with chord progressions for more ideas.