The Eclectic Banjo - Posted - 10/28/2025:  06:05:04

As I’ve started to learn to do improv I’m starting to think about things like resolving (resolution?) from C and D chords back to G. A few questions rattling around. All of them are for the Key of G:

1) is there a C chord that resolves well to G much like D7 does?
2) When resolving to G, does it matter if it’s G3 on open third string or G4 on 5th string?
3) If I play a C or D chord up the neck, such as at the 14th or 16th fret, respectively, will a resolution sound more solid if I play a G in that range, such as the fifth string open, or does that not matter as much?

Thank you

Ira Gitlin - Posted - 10/28/2025:  07:05:09

1) No.

2) Probably not.

3) Maybe. It depends on the context.

Edited by - Ira Gitlin on 10/28/2025 07:06:10

aaronoble - Posted - 10/28/2025:  07:48:14

1) Try a C6/Am

mmuussiiccaall - Posted - 10/28/2025:  08:47:06

Resolutions are normally achieved by using notes that are a half step/ one fret away from the target. The D chord in the key of G has an F sharp note in it, which is called the leading tone that moves in this fashion to G. if you were to play a D7 chord, it has a C and an F sharp, which is called the tritone and both of those intervals will be a half step away from a note that is in the G chord. The F sharp still goes to G and the C goes to the B.

A C chord naturally has one pitch that is one half step away from a note in the G chord, the C note itself. So it is what’s called a plagal cadence ,a softer less final ending, think about the amen at the end of hymns. The C can be even transformed more into a better resolution by making it C minor which adds a D sharp note into the equation which again is a half step away from the D note in the G chord, the D. The C6 chord came to my mind also because it’s A note isn’t a half step away, but it is adding a note that is in the scale of G that leads the ear to the G. Bass players do things like this. BTW It would be best to play a C and then a C6 to help in this situation.

Edited by - mmuussiiccaall on 10/28/2025 08:54:10

The Eclectic Banjo - Posted - 10/28/2025:  09:34:44

quote:

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Originally posted by mmuussiiccaall

Resolutions are normally achieved by using notes that are a half step/ one fret away from the target. The D chord in the key of G has an F sharp note in it, which is called the leading tone that moves in this fashion to G. if you were to play a D7 chord, it has a C and an F sharp, which is called the tritone and both of those intervals will be a half step away from a note that is in the G chord. The F sharp still goes to G and the C goes to the B.

A C chord naturally has one pitch that is one half step away from a note in the G chord, the C note itself. So it is what’s called a plagal cadence ,a softer less final ending, think about the amen at the end of hymns. The C can be even transformed more into a better resolution by making it C minor which adds a D sharp note into the equation which again is a half step away from the D note in the G chord, the D. The C6 chord came to my mind also because it’s A note isn’t a half step away, but it is adding a note that is in the scale of G that leads the ear to the G. Bass players do things like this. BTW It would be best to play a C and then a C6 to help in this situation.

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Thanks that is super helpful 

Edited by - The Eclectic Banjo on 10/28/2025 09:35:07

dfstd - Posted - 10/28/2025:  09:36:27

C minor resolves to G, e.g., | C Cm | G ||. It isn't as common as the D7 to G cadence, but it comes up in music every now and then. It's up to you to decide if it fits the mood of the music you're playing.

banjoboyd - Posted - 10/28/2025:  14:20:45

I'm a bit confused by the context of the question. If you're improvising over changes, you follow the changes. It doesn't matter that D7 -> G (V7 -> I) is the stronger resolution if the music is calling for C -> G (IV -> I). So as an improviser, you should practice and be ready for both situations.

Old Hickory - Posted - 10/28/2025:  14:52:58

1) There are countless instances of a G chord following a C chord in the key of G. Sometimes a verse or chorus starts on C as the IV and then goes to G as the I. (as in the chorus of I Wonder Where You Are Tonight, when played in G) Or a song's progression might go G-G-C-C-G-D-G-G (Nine-Pound Hammer, for example). (Count "1, 2" for each chord). The basic 12-bar blues -- copied in lots of country and bluegrass -- starts on I and goes to IV, then back to I. So that would have C to G.

But the sound of C to G (or any IV to I) doesn't have the same "coming home" pull or satisfaction that makes us think of it as resolving. It's just a chord change. A common one, for sure. Sort of bland. There's no reason you can't work up situation-specific C to G transitions that create some more satisfying sound you're after.

However . . .

Not quite the same thing, but if you play a C note within a G chord -- creating a "suspension" -- removing the C sounds very much like a resolution, because the suspended fourth creates tension. Pretty sure 1952 Vincent Black Lightning does this. At least my banjo part did for all the years I played this in my final bluegrass band!

2) Resolve to the G note that makes the most sense and sounds the best in context. I think resolving an octave away from where you were playing doesn't make sense and might not sound so good. Big melodic leaps are best used carefully and with intention. Can a big leap for resolution sound good? I don't know. You decide. Remember the theory rule that trumps all other rules: If it sounds good, it is good.

3) Same question as 2, and so same answer.

banjoak - Posted - 10/28/2025:  15:30:24

Not quite sure of context of the question, if improv a break over existing song, with existing chord progression and melody. Or if just noodling around composing a new chord progression and melody?

Keep in mind they style; as not all music is based on rules of Classical Music harmony. Not that those can't be used as inspiration for ideas, as well as other compositional styles.

Bottom line for me is putting rules and formulas aside... goal is simply about the listening. As such just listen, how does it sound? Does it achieve what want to sound like?

Tractor1 - Posted - 10/28/2025:  18:04:15

old tymey and close cousins use the e note pulled off to an open D to get the job done --
Redwood Hill always aggravated me resolving from C to G -and I started using it there--
Leonard Bernstein is around on the net talking about resolving and the most powerful being a half step--but if it isn't within the chords --sometimes one has to pick the second best-this happens a lot in the older celtic type tunes --that gets the experts talking about modes of those days --an example would be a tune with just the chord structure of Eminor to D back and forth--it will never resolve as good as an introduced B or B7--but that can take away more magic than it adds
my opinion I ask no agreement--
another trick is to resolve to the b note and hit the root note G as the next beat