Question on Progression

[blackbox]

I have a song I am working on that uses the following....

E - C - G - D - F - C

As you can see they are all major chords. I have studied the notes in each of the chords recognizing the G# contained in the E, the F# in the D and the Bb in the F. (to my understanding Bb in air is A#.)

My question involves a few come to think of it.

1. Now that I have done this, what are some others ways in seeing it. (meaning I'm curious about your way of seeing it, more complex im sure.)

2. What other notes go well with this and why?

3. Anything you can think of?

thanks a lot for the insight to all who reply.

[Asperjames]

Not necessarily the greatest progression I've seen. III-I is akward, the G# which should be resolved to A in the vi chord is frustrated back to G natural. V/V - IV is also weird, the F# leading tone implied in the D is frustrated when it moves to the IV. Although d minor and F major are predominants to G in the key of C, there needs to be a distinction between predominant and secondary dominant, however, depending on the note value of the chords, it could just be a half cadence in the dominant with a plagal ending. Though this is all just subjective criticism - I would be more inclined to see the first C chord as an Am7, and D major as d minor.

If you were to analyze it in G it would be V/ii - (ii7) - I - V - C: IV - I, which entails are very akward and unprepared modulation.

On the basis that I would rather make chords minor to fit diatonically in either C or G, you can basically alter any notes you want to the E, G and D chords since they're the dominants.

[JonR]

Firstly, F has an A, not a Bb or A#.

Secondly, a lot depends on how long each chord lasts.

On the face of it, they don't all belong to one key, or even two keys, but the closest common tonality is A minor:

Key: A minor
E = V (of A harmonic or melodic minor)
C = III (of A natural minor)
G = VII (of A natural minor)
D = IV (of A melodic minor or A dorian mode)
F = VI (of A natural minor or harmonic minor)

Even tho there is no Am chord, this could be one reason why the chords work well together (yes, I disagree with Asperjames, I quite like it).
In addition, you have a very common IV-I-V in G in the middle (C-G-D), a familiar rock sound.
The D is the only chord that pushes away from an Am/C major feel, but not too far away by any means. (Following it with an F brings it right back in any case.)

All your chords occur together in Hotel California, a classic minor key sequence:
Am - E - G - D - F - C - Dm - E
(The original is in B minor)

House of the Rising Sun uses a similar set:
Am - C - D - F - Am- C - E (etc)

Which means the obvious additional chord you could use is Am! And maybe Dm too. I wouldn't worry about any others (there's plenty already). Those 2 minors will contribute an essential contrasting element.
Even A major could work well, adding an element of brightness.

But so much depends on chord order, duration, timing, rhythm, chord voicing (shape), etc.

A solo scale that would on almost everything would be A minor pentatonic.

[blackbox]

thanks guys, when i finish it, I will record it to let you hear it how I used them. (If I keep the same chords) peace