Tag Archives: chord progression theory

How To Make 4 Chord Vamps That Sound Great

Whether you need chord progressions for your own song or an intro for a song you are learning, you want to be able to come up with chord progressions that sound great, natural, and are not too boring, and messing around with harmony to make beautiful chord progressions is one of the most fun and creative things to do in music.

That is what I am going to talk about in this lesson.

Creating 4-chord Vamps with Subdominant Chords

The chords are supposed to loop, so we can start by choosing two chords and then fill in more chords between them.

For most of this video, I will focus on progressions going from a I or tonic chord, to a IV or subdominant chord.

Mostly because there is more variation possible and they are a little overlooked. Then we can take the basic 2-chord vamps and look at different ways to add chords and get more movement.

So let’s first check out these 2-chord options that already sound great and then turn some of those into more complicated vamps. Already here you might get some good ideas, but you can go a lot further.

#1 Cmaj7 Fm6 – IVm

#2 Cmaj7 Bb7 – bVII backdoor dominant

#3 Cmaj7 Dbmaj7 – bII Neapolitan Subdominant

#4 Cmaj7 Abmaj7 – bVImaj7

#5 Cmaj7 F#dim/C #IVdim

#6 Cmaj7 Ab7 – #IV double diminished – German Augmented 6th chord

 

 

These already sound great, so the next thing is to add a little more movement to them to make them more like a story in different phases.

Making More Interesting Chord Progressions

The trick to creating these progressions is to get them to make sense by adding chords that move in a logical way. I am not using any exact science or strict rules, so you can use any type of system that sounds natural to you. Most of the time you will see me add chords based on common progressions like a standard I VI II V turnaround, step-wise movement or moving in 4ths.

Diatonic Chords

When I am making the chord progressions I keep in mind this is in the key of C major, so I am in general pulling from C major and C minor, which gives me these diatonic chords to use:

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bø

Cm7 Dø Ebmaj7 Fm7 Gm7 Abmaj7 Bb7

CmMaj7 Dø Ebmaj7(#5) Fm7 G7 Abmaj7 Bdim

CmMaj7 Dm7 Ebmaj7(#5) F7 G7 Aø Bø

And besides that you can add secondary dominants everywhere you want, so if you have a Dm7 you can add an A7(b9) to lead to it, but also an Eb7 before an Abmaj7 (the bVI in minor).

You can check out more about secondary in the video I am linking in the description.

Turnaround with some step-wise surprises

#1 Cmaj7 Fm6 → Cmaj7 Am7 G7sus4 Fm6

Going to Am7 is coming out of a standard turnaround, and from there it is step-wise movement. You might want to notice that G7sus4 is F/G Which makes it very close to F Fm, so IV to IVm in C but with a different bass note. That is really just helping it make sense on another level.

Backdoor dominant and a secondary dominant

#2 Cmaj7 Bb7 →Cmaj7 C7/E Fm7 Bb7

With a dominant chord, you can often add a II chord in front of it to make it a II V. In this case with the Fm7, that also gives you the option of having a secondary dominant which is C7/E.

Another nice way to tie everything together is to have a pedal-point in the harmony, so a note that stays the same through all the chords. In this example, I have a G in the melody of all the chords to get that effect.

bVImaj7 is underrated

#3a Cmaj7 Abmaj7 → Cmaj7 Bb7 Am7 Abmaj7

In this example, I am using step-wise motion to go from Cmaj7 to Abmaj7. You can do this in a few ways, but this one was the nicest with the Bb7.

Instead of using stepwise motion, you can also turn it into a row of secondary dominants like this:

#3b Cmaj7 Abmaj7 → Cmaj7 Bb7 Eb7 Abmaj7

Which is a pretty different sound but certainly works as a progression that moves forward.

Composing With Chord Progressions

Coming up with chord progressions is about composing and improvising with chords so the best way to do this is to just mess around a lot and try to find new ways. There are many ways to get inspiration, but probably one of the strongest is to know and analyze a lot of songs. The advantage here is that if you learn songs you not only know the progression but also really have an idea about how it sounds, and you can always mess around with it.

Another great exercise is to harmonize or re-harmonize melodies to explore what is possible with the chords and how you can use different chords to go from A to B.

 

#IVdim: Neutral and spicy

The #IV is an uncomfortable chord for a lot of people, but it is a really beautiful sound. Here are two examples that work really well and also both use a C pedal point. The second one is a bit out and dark, but also beautiful.

#4a Cmaj7 F#dim/C → Cmaj7 C7 F/C F#dim/C

This is really just a basic C C7 F F#dim “gospel or country” progression with a C in the bass, but it certainly works. A great example of what you learn from checking out songs like St Thomas or Rhythm Changes.

The next one is a bit weird,

#4b Cmaj7 F#dim/C → Cmaj7 Eb7/C Abmaj7/C F#dim/C

Folk inspired Minor Chords (and a double diminished inversion)

The IVm and Vm chords together have a real folk sound which can be really beautiful and it works great here in combination with the Ab7 which has the heaviest name: (Hans Groiner).

You will also see the double diminished #IV chord referred to as the German Augmented Sixth chord.

#5 Cmaj7 Ab7 → Cmaj7 Fm7 Gm7 Ab7

To me calling it a double dim #IV tells me how it sounds, that’s why I use that. I don’t really have any association with that with German augmented chord, but that is most likely just me.

Another reason for using Subdominant chords

The progressions in this video are pretty natural sounding and will loop very well. If you plan to make songs with the same chords looping for a longer period of time, then it makes sense to not be too specific about the key. Being vague becomes a way to make it not too predictable. This is actually something you can see in a lot of pop music where you even have long discussions and articles about the key of pieces.

Using the subdominant chords makes these progressions less “predictable” and clear than a standard V I. Similar to the effect you have in Radiohead’s Creep, which is almost example 1. Another way to keep it a little more vague is to play fewer notes, so sticking to triads can be useful too.

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Make Your Minor Chord Progressions More Interesting

The minor key has a lot of interesting options, and also quite a few that you don’t have in Major. This video goes over some of the beautiful progressions that you can create in minor when reharmonizing a basic II V I, and you can go pretty far.

This video will give you a lot of examples and concepts to add to your repertoire!

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/make-your-minor-44726274

Content:

00:00 Intro

00:47 The Tritone substitute That We All Know

02:07 Minor Ladybird Turnaround

02:50 Making it all II Vs like Wes

03:48 Making it all II Vs But Then A Little Weird

04:17 The Amazing Amount Of Diatonic Chords In Minor

05:27 The Most Beautiful Altered Dominant Is A Minor Chord

06:20 Pretending To Be Go To Another Degree0

06:59 The Neapolitan Subdominant

07:53 A Little Like Coltrane But In Minor

09:37 Another Great Sounding Substitution for the V

09:46 Why You Want To Think in Functional Harmony

09:54 Like the video? Check out my Patreon page

 

Get a free E-book

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Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

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If you have any questions, comments or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Secondary Dominants – What You Want To Know

Understanding what a secondary dominant is and being able to recognize or find them for chords is a powerful tool you can use in your playing and compositions. This video will show you how to use them, understand them and improvise over them

And actually, it is pretty simple if you know your basic scales.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here: 

https://www.patreon.com/posts/secondary-what-43407629

Content:

00:00 Intro

00:22 What is a Secondary Dominant

01:52 Not Just Theory

03:25 Finding Them In A Song

05:39 Scale Choices and Extensions- The Two main types

06:36 Examples in the song

07:15 The V of V in major – A special rule

08:05 Secondary Dominants in Comping – Moving Progressions

09:30 Secondary Dominants in Comping – Static Chords

10:22 Adding Them To Solo As Embellishments

11:23 Why You Want To Think in Functional Harmony

11:34 Like the video? Check out my Patreon page!

 

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

If you have any questions, comments or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Make Your Chord Progressions More Interesting

There are many ways you can reharmonize chord progressions. In this video, I am going over a method that is simple and easy to use. I am using basic functional harmony to show you how you can create amazing jazz chord progressions yourself and really change the color of the songs you play.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/make-your-chord-40760818

Content:

00:00 Intro

00:52 Basic II V I and The Power of Chord Functions

01:23 The Advantage of Functional Harmony

02:14 Chord Progressions Have To Make Sense Too

02:39 Subdominant chords and lots of options

02:45 3 Basic major subdominants

03:10 Is VI a subdominant?

03:41 7 useful minor subdominants

05:00 4 exotic #IV subdominants

06:15 Progressions Using Other Subdominants

07:07 Dominant Chords

08:02 Progressions Using Other Dominants

08:53 Tonic Chords and Suspensions

10:20 Changing functions – From II V I to Neo-soul

12:00 Functional Harmony – A Powerful Tool

12:16 Like the video? Check out my Patreon page!

 

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 700 others supporting and helping shape the content on my YouTube channel.

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If you have any questions, comments or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Modal Interchange – Chord Progressions with Beautiful IVm ideas

Modal Interchange is a great way to make your Chord Progressions more interesting and surprising. With Modal interchange chord progressions can borrow colors from the minor key that are surprising but still make sense to the ear and have a natural place in the harmony as you can see in the examples I reference from both Pop, Rock and Jazz like Radiohead and Deep Purple.

One especially interesting and beautiful version of this is using IVm or minor subdominant, which is the topic of this video. I will go over 5 types of minor subdominant or IVm chords and use examples from songs so you can hear how they sound and in that way get a better impression than just the theory.

Content of the video:

0:00 Intro

0:47 The basic IVm and that one important note

1:00 How a IVm chord works in a major key

1:37 #1 Basic IVm chord progressions as a transition and independent chord

2:14 IVm Example 1 – Radiohead

2:52 IVm Example 2 – Radiohead

3:09 IVm in Jazz, extensions and scales

4:28 #2 bVII – Backdoor dominant

5:55 bVII Example and Scale choice: There Will Never Be Another You

6:39 #3 IIø or IIm7b5 – How it works

7:25 IIø Example: I Love You

7:55 #4 bVImaj7

8:30 bVI Example in a cadence: Night and Day

9:07 bVI Example as an independent chord: Triste

9:43 #5 bIImaj7 – Neapolitan Subdominant

10:44 bII Example: You Stepped Out of A Dream

10:57 bII Example: Suspending the Tonic chord

11:40 bii Example: Deep Purple

12:29 Working with modal interchange and learning to use these chords

12:51 Do you have great clear examples of IVm chords? Leave a comment!

13:26 Like the video? Check out my Patreon Page!

Jazz Chord Progression – Knowing the blocks that make up the Jazz songs

A Jazz Chord Progression is made up of smaller blocks of progressions. This video will go over the three most important types of blocks or progressions that you need to know in order to understand the chord progression of a jazz standard. These will help you memorize and play jazz songs and make it possible for you to get better at sight-reading jazz lead-sheets.

Content:

0:00 Intro – Thinking in blocks of chords – for memorizing and transposing

0:28 The three building blocks that cover most jazz standards

1:06 Block 1 – The Key and the basic cadence

2:10 The Turnaround – creating a loop

2:52 The Substitute for the Tonic: III VI II V

3:14 Block 2 – Secondary Cadences and dominants

3:42 List of Cadences

5:12 List of Secondary dominants

6:00 Block 3 – Subdominant chords in major

6:25 The Country version of a IVm chord

7:15 Common variations of IV IVm progressions in Jazz

8:40 Why think in blocks or groups of chords?

9:15 Did I miss a progression or a chord? Leave a comment.

10:07 Like the video? Check out my Patreon Page