This is a simple question with a ton of answers, however, I'm going to do my best today to answer what chords go together, as well as some of the music theory behind the most important scales: the major and minor scale. \n\n\n\nI think one of the most important things to learn right away - as I mentioned in my article on chord naming - is intervallic relationships such as minor, perfect, major, augmented, diminished, as well as octaves, in addition to the structure of the Major scale and other diatonic scales, as well as what a triad and a 7th chord is. \n\n\n\nThere are a ton of chord progressions that will work and sound great, many of which are theoretically "incorrect" as well.\n\n\n\n So what we're going to do today, is we're going to explain some of the theory behind scales and key signatures, notably, the construction of the major and minor scale and the relevant chords. \n\n\n\nBefore we dive into the creation of the major and minor scale chords, I'm going to offer up a fairly big list of common chord progressions that should keep you busy for a while. \n\n\n\nSome of these are very old progressions, and some of them are more modern. The great thing about each one is that you can add or subtract whatever notes\/chords you want to them and create something entirely new. \n\n\n\n1. F, B\u266d and C \n\n\n\n2. C, Am, F, G - 50s Progression \n\n\n\n3. C, F, Bb, F\n\n\n\n4.. C\u266fm, E, B and A \n\n\n\n5. F\u266fm, B and C\u266f \n\n\n\n6. Am, G, F, E - Andalusian Cadence \n\n\n\n7. E, A, and B\n\n\n\n8. Dm, Bb7, C - Backdoor Progression \n\n\n\n9. D, A, B and G\n\n\n\n10. A, E, G, D - Chromatic Descending \n\n\n\n11.. E, B and G\n\n\n\n12. Am6, Dm, G6, C - Circle Progression \n\n\n\n13. D, Am7 and G\n\n\n\n14. C, G7, F7, F7, C7, G7, C7, G7 - 8 Bar Blues \n\n\n\n15. C, G, F and Am\n\n\n\n16. G, C, D and Em\n\n\n\n17. B, A G F\u266f\n\n\n\n18. D, A, C and G\n\n\n\n19. Dm, F and C\n\n\n\n20. D, C, B\u266d and F\n\n\n\n21. Dm, G, C - Common Jazz Progression (ii, V, I)\n\n\n\n22. D, A and G (drop D version)\n\n\n\n23. A, D and E\n\n\n\n24. D, C and G\n\n\n\n25. D, G, Bm and A\n\n\n\n26. C7, F7, Dm7, G\n\n\n\n27. E, B, C\u266fm, G\u266fm and A\n\n\n\n28. D, F, G, C and G\n\n\n\n29. D, A, G and Em\n\n\n\n30. Em, G, D, C and A\n\n\n\n31. D, E\u266d and F (drop D)\n\n\n\n32. Asus2, E, B and G\n\n\n\n33. Am7, Dm7, G7 and Cm7\n\n\n\n34. C, G, Am, F\n\n\n\n35. F\u266fm7, B7, E and A\n\n\n\n36. G7, C, C9, Dm7 and C\n\n\n\n37. F, Em, Am, G and Am\n\n\n\nThe Notes And Chords Of The Major Scale \n\n\n\nThe purpose of this section is to give you a guideline for understanding why some chords seem to go better together than others. \n\n\n\nMoreover, understanding the notes of the major scale as well as the chords will help you become a better player and a more informed musician in general. It has the added benefit of helping your improvisation skills as well. \n\n\n\nRight away, we should start off by outlining the notes and chords of the C Major Scale which are the following: \n\n\n\nC, D, E, F, G, A, B, and C again. \n\n\n\nThose are the notes of the C Major scale. \n\n\n\nThe chords of the major scale are the following: \n\n\n\nI, ii, iii, IV, V, vi, vii\u00f8\n\n\n\nThe large roman numerals (I) mean that the scale degree is major, the lower-case (i) roman numerals mean that the scale degree is minor and then the lower-case roman numeral with the little '\u00f8' beside it means that it's a diminished triad. \n\n\n\nThere is also the 3 chord in the minor scale, III+, which means that it's augmented, in addition to other chords that have the little '7' over top of it, which signifies that it's a dominant 7th chord. \n\n\n\nLet's construct triad chords using the notes of the C Major scale. \n\n\n\nI, ii, iii, IV, V, vi, vii\u00f8\n\n\n\nC Major = I \n\n\n\nD Minor = ii \n\n\n\nE Minor = iii \n\n\n\nF Major = IV \n\n\n\nG Major = V \n\n\n\nA Minor = vi \n\n\n\nB Half-Diminished = vii\u00f8\n\n\n\nWhat's a Triad? \n\n\n\nA triad is a chord that's made up of three notes, the root, the third, as well as the fifth. \n\n\n\nAnd what you do to create one, is you simply take every other note of the scale and build a chord out of those three notes.\n\n\n\n For instance, you have the C Major scale listed above, so here are the chords outlined above, in addition to the actual notes that make up each one. \n\n\n\nC Major = I = C E G \n\n\n\nD Minor = ii = D F A\n\n\n\nE Minor = iii = E G B \n\n\n\nF Major = IV = F A C\n\n\n\nG Major = V = G B D \n\n\n\nA Minor = vi = A C E \n\n\n\nB Half-Diminished = vii\u00f8 = B D F \n\n\n\nThese are the chords of the C Major scale. Truthfully, there is a way to use every single one of those chords in a progression and making them sound good, however, some combinations will sound a lot better than others. \n\n\n\nFor instance, perhaps the most common progression is the I-IV-V progression, which is the first, fourth, and fifth chord. \n\n\n\nMost Top 40 songs re-use the most popular chord progressions over and over again, especially in the modern era. \n\n\n\nThere was a time when hit songs were more harmonically complex, but it seems that in the modern era, the most popular songs are attempting to reach a much wider audience. \n\n\n\nFor that reason, songwriters try to make their tracks as simple as possible, that way there is no room for unusual melodies or sounds that audiences won't enjoy. \n\n\n\nThe Notes And Chords Of The Minor Scale \n\n\n\nFor this, we're going to use the relative minor of the C Major scale, A Minor\n\n\n\nThe relative minor of a major scale is always built upon the sixth note of the sixth scale degree of the Major Scale. "Relative Minor" means that it basically uses the exact same notes, but they're ordered in a different way, which creates an entirely different sound and purpose. \n\n\n\ni - A Minor \n\n\n\nii\u00f8 - B Diminished \n\n\n\nIII - C Major \n\n\n\niv = D Minor \n\n\n\nv = E Minor \n\n\n\nVI = F Major \n\n\n\nVII = G Major\/G Dominant 7th \n\n\n\nLet's elaborated on this further, by using the aforementioned relative minor of the C Major scale, A Minor \n\n\n\nA Minor Scale and Its Chords \n\n\n\nA Minor = i = A C E\n\n\n\nB Diminished = ii\u00f8 = B D F \n\n\n\nC Major = III = C E G \n\n\n\nD Minor = iv = D F A \n\n\n\nE Minor = v = E G B \n\n\n\nF Major = VI = F A C \n\n\n\nVII = G Major\/G Dominant 7th = G B D (F) \n\n\n\nFrom this scale, similar to the one laid out above, you could go through and use any one of those chords and make it sound good, although, some would definitely sound a lot better than others.\n\n\n\nThe great thing about music is that there really is no limit to what can be done because of there a ton of permutations that can be used. \n\n\n\nThe real issue, however, is that as songs and progressions become more harmonically complex, the potential audience for it to reach is much smaller, and thus, less likely to be a hit song. \n\n\n\nAdditionally, there are way more scales that one can use as well, including the Harmonic Minor and Melodic Minor scale, as well as the mode of each scale. \n\n\n\nIf you check out my article on Garageband Professional, How to Use Modes, Modes Explained For Garageband, I run through how you can use the modes of the major and minor scales. \n\n\n\nIt's really quite amazing what one can do. However, this article isn't about modes, it's about building common chord progressions that'll sound good to the average person's ear. \n\n\n\nAs an added note, you can create arpeggios out of each one of those chords. In my view, it's definitely worth your time to learn how to play arpeggio shapes of the Major, Minor, Major 7, Minor 7, Dominant 7, and Diminished chords, which are then movable in every single key signature. \n\n\n\nThis is very useful for improvising. \n\n\n\nWhy Do Certain Chords Sound Good With Others \n\n\n\nThe reason why chords sound together has to do with intervallic relationships between notes and how they sound in conjunction with the others. \n\n\n\nFor instance, if one is in the Key of C Major, there are particular intervals within the scale, that are also built into the chords, so when you play those chords together in combination with each other, the intervals just end up meshing well together. \n\n\n\nThis is, of course, a very basic explanation of why they sound good together. In the future, maybe I'll write a full tutorial and explanation on why some chords sound good and others don't. \n\n\n\n***I couldn't upload the video in one part due to YouTube's restrictions regarding new accounts. \n\n\n\nYouTube Video \n\n\n\n\nhttps:\/\/www.youtube.com\/watch?v=-R43o4Fi7Ac&feature=youtu.be\n\n\n\n\nYouTube Video Part 2 \n\n\n\n\nhttps:\/\/www.youtube.com\/watch?v=cFBFkrAfuEs&feature=youtu.be\n\n\n\n\nConclusion \n\n\n\nI hope this article was helpful to you in at least some way. The chord progressions listed above should give you a lot to play with when you first start out. \n\n\n\nThe good thing is that you can build your own progressions that you think sound great. Additionally, you can make small alterations to each progression and come up with something entirely unique.