Part 5: Exploring Harmony

Chords & Triads

My experience of adapting, arranging and simplifying music for a primary school choir and orchestra has given me a very good insight into of the use of chord triads.  However, revisiting the theory behind the formation of these note structures proved very helpful. 

Taylor (1990) writes, “What is important about chords is the way they lead to and away from each other; they are not isolated events.”   

Theory of Chords in Minor/Major Degrees

Chord notation can vary in many different ways, but for the purposes of this section, I will use the system of Roman numerals to study and describe the chords progressions.

In its simplest form, a triad can be described as three notes sounded together, each with harmonic relevance to each other.  A chord is a variation of this that can contain three of more of these harmonically linked tones.  Minor chords are notated using lowercase numerals (i, ii, iii, ,iv etc.) and Major chords are notated using uppercase numerals (I, II, III, IV etc.).

In any of the diatonic major scales, the pattern of chords will be as follows:

I – ii – iii – IV – V – vi – vii(dim)

In the key of C-major, this relates to:

C-major – D-minor – E-minor – F-major- G-major – A-minor – B-minor(dim).

In any of the diatonic natural minor scales, the pattern of chords will be:

i – ii(dim) – III – iv – v – VI – VII

In the key of A-minor, this would be:

A-minor – B-minor(dim) – C-major – D-minor – E-minor – F-major – G-major. 

The note order of any triad or chord can be reshuffled to create a different sound with a different ‘root note’, e.g. the chord of C-major uses C, E, G, therefore the root note is C.  However, if the chord were played E, G, C we would call that the first inversion on the C triad.  G, C, E would be the second inversion.  On chords larger than three tones, it is possible to add further inversion. 

Diminished chords carry a sense of tonal inability and can often be perceived as clumsy and dissonant.  However, each of the diatonic scales carries a diminished triad.  Like the major and minor chords, the diminished chord begins on the root (despite its inversion) then moves to the minor third (one semitone below the major third) before moving to a diminished fifth (six semitones above the root).  These chords can be notated by replacing ‘dim’ with the ° symbol, e.g. C° = Cdim.

An augmented chord, sometimes notated as I – III - #V, consists of the root, major third and augmented fifth (raised by one semitone for a major fifth).  This can be notated by following the chord root with the + symbol, e.g. G+ = G-aug.  As the augmented triad does not naturally occur in any of the diatonic scales is it considered to be touching on the realms of the ‘atonal’.  It has been suggested that the best use for augmented chords is in place of the V chords, moving swiftly back to I.

Seventh chords are based upon a triad with the addition of the seventh note in the scale, thus changing it from a triad to a chord.  There are a number of variations of the seventh chord, as shown below:

Major 7th	I, III, V, VII
Minor 7th	i, iii, V, vii
Dominant 7th	I, III, V, vii
Diminished 7th	I, iii, V°, VII°
Half Diminished 7th	I, iii, V°, vii
Minor Major 7th	I, iii, V, VII
Augmented Major 7th	I, III, V+, VII

 

Extended chords make use of the ninth, eleventh and thirteenth notes in the scale, and there are endless possibilities when other scale notes are considered in the chord formation. 

Suspended chords are when a triad based on the first, third and fifth degrees omits the third note and replaces it with another (usually the fourth).  This would create a chord of Csus4.  Similarly, a Csus2 chord would be the introduction of the D instead of the E. 

This has lead me to take a deeper look into a few frequently used chord progressions, in a number of genres, to further understand the relationship of each triad to another. 

Three Chord Songs

As the title suggests, music made up of a progression of just three chords tend to be popular in blues and rock and roll music, including the twelve bar blues.  Van Morrisson’s Brown Eyed Girl, Chuck Berry’s Johnny B Goode and Bob Dylan’s Knockin’ on Heaven's Door are just a few examples of popular music based on a three chord progression.  In addition, many country and pop music compositions use this simple formula. 

The chords used in this pattern are usually based on the tonic, subdominant and dominant of the key, e.g. in G-major this would be G, C, D.  The use of these chords encompasses all of the notes found in the original key of the song, barring a few accidentals.

Jazz Chord Progressions

The 2-5-1 progression frequently used in Jazz pieces usually uses chords based heavily on triad variations including dominant and minor 7^th chords.   This 7^th chord’s slightly more dissonant feel has become a regular feature in the tones of Jazz and Blues music. 

In their discussion of classical music, Andrews & Sclater wrote that:

“ii-V-I is part of the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.” 

            (Andrews & Sclater, 2000:227)

It is often said that this progression is reserved solely for dominant cadences.

Circle Progressions

It is argued that circle progression, the method of basing chord movement on the circle of fifths, is the strongest and most frequently used of all progressions.  This progression is usually based on chords, both major and minor, moving through the scale by fifths, with one diminished fifth and the use of one diminished chord.   This progression will end by using the II – V – I pattern, which as discussed earlier, is used as a dominant cadence.  This can be seen clearly in the verse lines of The Beatles Yesterday (1968).

Pop Music Progressions

In my work with a Junior Pop Choir, I have come across a number of pop pieces  based on a simple cycle of 4 chords.  Songs such as Adele’s Someone Like You (2011) and Nirvana’s Smell’s Like Teen Spirit (1991) are perfect examples of this very simplistic style of composition. 

I cannot help but think that, in popular music at least, the instrumental side of a composition is almost entirely based as a harmonic accompaniment to the vocals.  Of course artists such as Ben Fold’s, and even to some extent Mumford and Sons, both see and relish in the vital importance of the role of the instruments in their songs and opt to use a range of chords progressions and variations.   Although some of these pieces can be seen as simplistic, the textural details and the instruments and vocals are the key in the whole effect of the composition. 

These are just a few of the many possibilities that the use of chords progressions can offer.  The introduction of seventh, ninth, thirteenth, diminished and augmented can provide a whole world of tonal possibilities.   However, it seems to me that whatever key and progression chosen, the tonic, subdominant and dominant triads, and variations thereof, will always have a special relationship to each other and be the key part of any composition. 

Rules of using Chord Progressions

During my research into how to design the most effective progressions, I came across some ‘rules’ suggested by Jarrett and Day (2008), listed below.  However, the authors also suggest that there is no reason that these rules must be true, but are most likely what listeners will be expecting to hear. 

“Rules” for major chord progressions

·      I chords can appear anywhere in a progression.

·      ii chords lead to I, V, or vii” chords.


·      iii chords lead to I, ii, IV, or vi chords.

·      IV chords lead to I, ii, iii, V, or vii” chords.

·      V chords lead to I or vi chords.

·      vi chords lead to I, ii, iii, IV, or V chords.

·      vii” chords lead to I or iii chords.

“Rules” for minor chord progressions

·      i chords can appear anywhere in a progression.


·      ii” or ii chords lead to i, iii, V, v, vii”, or VII chords.

·      III or III+ chords lead to i, iv, IV, VI, #vi”, vii”, or VI chords.

·      iv or IV chords lead to i, V, v, vii”, or VII chords.

·      V or v chords lead to i, VI, or #vi” chords.

·      VI or #vi” chords lead to i, III, III+, iv, IV, V, v, vii”, or VII chords.

·      vii” or VII chords lead to the i chord.

Jarrett & Day (2008:113) 

There appear to be a huge number of articles, books and forums that make suggestions about which chord progressions should be used to create different moods and feelings.  However, it seems to me that these ‘rules’ often vary from piece to piece, key to key and musician to musician. Of course, carrying a clear understanding of harmonic and dissonant progressions is essential to any composition, but I wonder whether the ideal chord progression for each piece can only truly be determined once the character and theme of the piece have been fully decided and in some ways, guided their own way through the composition.