Arpeggios to chords. How do I do that?

If your playing a D7th chord, then you would play the dom 7th argeggio, with D,F#,A,C being the notes. the D7 chord will only occur in the key of G.
G contains
g,a,b,c,d,e,f# are the notes
the chords in g are

Gmaj7, Amin7, Bmin7, Cmaj7, D7, Emin7, F#dim7
so you can really play the arpeggios of any of those chords and it will sound fine.

hope that helps...

the D7 chord will only occur in the key of G.

Untrue. It can be used in any key, although it resolves best (and is therefore used most) in G.

D7 resolves to G so when it appears it other keys it's generally used as a secondary dominant, meaning it resolves to G then that G continues on and goes somewhere else. Often you'll be in C and hear a D7 go to a G7 then to C. If you really try you can resolve D7 to an Em instead but that tends to be more trouble than it's worth. Sometimes 7 chords get thrown in for colour and their function is ignore but usually a Maj7 will get used for that rather than a dominant 7.

the way theory is taught, people take this as "rules" and stick to it (like classical composers)..

but modern music, these rules dont apply, theory is "what works" and can be refferenced to when needed..

but music shouldnt be written AROUND theory, if you get me.

All of this is true.

But ....

what you get from theory is "this will sound good".

Follow a D7 chord with a G major chord and it will sound "good" and "right".  The listener will feel, whether he is aware of it or not, "this part of the song is complete".  

Follow a D7 chord with a G#major chord and it won't.  Unless you're very careful, to most untrained ears it will simply sound as if you don't know how to play.  That's why a lot of modern compositions sound like crap.  They try too hard to break the rules and so they have audiences that number in the ..... ones.  

That's why a lot of modern compositions sound like crap.  They try too hard to break the rules and so they have audiences that number in the ..... ones.

lol

i dont even think thats right, most bands dont have a clue about theory they just move their fingers and go "that sounds good"..

they will know chord names but they wont have a clue about what chords work together over what scale.

I dont think its trying to break the rules as much (even though some of it is) the vast majority of little teenage bands I DO NOT KNOW HOW THEY GET SUCESSFUL, but just mess about and come up with stuff.

I wasn't really talking about modern teenage rockbands.

I was talking more about modern "classical" composers who are "extremely" concerned with originality.  In that business, originality means breaking the rules.

Ohh that sort.

But the fact is, they know what they are doing and really its only incorperating their 'mark' on their music, they think it must sound good if they wrote it.

...and who are we to question that??

MUSIC STUDENTS  :P

**

Helgi, just little question, if you where composing a score and you wanted to incorperate your 'mark' in it.
What tricks would you use?

Oh man, I'm nowhere near able to compose classical pieces.

The closest I get is writing my own basslines and I'm not sure I put my 'mark' on them.  I'm more concerned with having them sound appropriate to the band I'm playing in and its established style (25 years and counting).  

To tell you the truth, I'm not ready to answer that.  Get back to me in 10 years.