Increasing your chord palate (part 2)

Filed in Free Lessons on March 04, 2009



Yesterday, I discussed the problem of coming up with good chords to match a melody line.  If a writer does not consider how a chosen chord will function against the chords around it, the resulting sound is often awkward.

I also mentioned that this problem occurs when writers do not have an understanding of what chords are actually at their disposal.  In many cases, they actually believe there are only a few choices for a given situation.  Let's assume for the moment that a song is written in the key of C and the melody note is G.  Many writers assume that they have to choose between C, G, and Emin in that situation.

The reality is that there are numerous chord choices that would work in that situation.  The most common ones would be C (or CMaj7) and G7.  However, Dmin7, Emin7 and Amin7 all work very well too.  And while those are only the beginning of the possibilities, let's talk about these minor chords some more.

If you think about it, Emin7 is obvious because it contains a G.  So is Amin7 (the G is the 7th).  The Dmin7 might throw you a bit because Dmin7 in its simplest form (D, F, A, C) does not contain a G.  However, if you extend the chord, the G is actually the 11th.  Chords sound really good when the melody note is NOT in the basic chord (1, 3, or 5).  Try it--it works.

Now, as you expand your chord palate, you have the ability to plan better chord progressions.  Just including all the minor 7th chords will really help.  Remember that chords like to resolve down by a fifth.  That means if you play a iii chord, look for a way to make the next melody note match a vi chord and then move to a ii chord, etc. 

I know that this is a bit complex.  I have written about this in more detail in these two lessons:

Introduction to chord substitutions - Part 1
Introduction to chord substitutions - Part 1

Also, the absolute best way to learn this concept would be to buy Inspirational Improvisation and work through the exercises over the course of several months. 

With time, you will start hearing and using better chord progressions naturally.



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Beth Hoover
3/4/2009 9:00:06 PM

This is very interesting but a little over my head. How many chords total are available in the scenario you gave?

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Greg Howlett
3/9/2009 4:42:42 PM

Too many to count. Right off the top of my head, about 7 minor 7th chords, 7 major 7th chords, 12 dominant chords, a sus chord, and many diminished and half diminished chords. On top of that all of these chords can have different color notes. When I say a dominant chord for example, I might mean a dominant chord that has a 9 or a b9 or a #11 or a b13 or a few other notes. There can be combinations of notes added and all of these combinations change the name of the chord.

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Carole A. Rogers
3/31/2010 9:46:11 AM

I just discovered this site through Piano World and want to say a huge 'Thank You' for giving this wonderful information so freely. I just love what you're doing and your lessons are fabulous!

Many thanks,

Carole

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James E Hall
11/26/2010 8:01:54 PM

Hi Greg:

I recently came across your site purely by accident, but accidents don't happen, they are caused, and the cause was the search for good piano stuff, of which yours fit so snugly. I love your free blog with so much info. I am really grateful. Already i have implemented much of the goodies in my playing. Thanks a million times all the way from the great white north, Canada.

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