Building A Vocabulary from Boredom

Sometimes we songwriters are so bored with our chord progressions and typical harmonic rhythms that we can’t feel the resonance of one progression over another. We have lost our mojo.

The antidote is to build up a vocabulary of possibilities. 

A good rule of thumb is to never change chords unless there is a good reason to do so. This rule keeps me from merely reflexively changing chords.

Simply starting a progression on a chord other than the 1 chord, the tonic, is a great way to build our vocabulary. For simplicity, I’ll express all chord progressions below in the key of G.

Maggie Rogers “Drunk”

Emin | Dmaj | Bmin | Dmaj

After mixing up the order of the chords we already use, we can involve inversions in our chord progressions. There are three ways we can stack any triad. A G major chord can be stacked as G-B-D. It can also be stacked as B-D-G, the first inversion. Or it can be stacked as D-G-B, the second inversion. Each inversion carries a slightly different personality, and can help us get to chord progressions that involve great voice-leading in the bassline, not to mention a softer, more intimate personality rather than those angular, blocky root position movements. We sometimes refer to inversions within the label ‘slash chords,’ with the top letter defining the triad, and the bottom letter defining the bass note:

Stevie Nicks “Landslide”

Gmaj | Dmaj/F# | Emin | Gmaj/D

Cmaj | Gmaj/B | Amin | Dmaj/F#

Keane “Somewhere Only We Know” (Chorus)

Amin | Amin | Gmaj/B | Dmaj

Then, we look at how other songs use chords beyond the diatonic options. Diatonic chords are chords that naturally belong to the key, built only on the scale tones part of the scale. In the key of G major, all diatonic chords must be defined by the notes within the G major scale, G-A-B-C-D-E-F#-G. Putting together all the triads diatonic to the key of G major, we get these chords:

G maj Amin Bmin Cmaj Dmaj Emin

If we make the Amin an A maj, we are now grabbing a triad that does not belong to the key of G major. These kinds of chords are called ‘borrowed’ chords, and can be great for creating a little interest in the progression. Some simple songs to look at and replicate in our own writing might be:

H.E.R. “Hard Place” (Expressed here in the key of G)

Gmaj | Dmin | Cmaj | Gmaj

That D minor doesn’t belong to the key of G major, so it is a borrowed chord. A simple way to borrow is to write a diatonic chord progression, then choose just one chord to flip from major to minor, or minor to major. Play the progression down and see where it takes you.

Finally, we can employ some useful substitutions. A b7 chord, or the F major chord in the key of G major, is a great substitute for the 5 chord, the dominant chord function in a key. Again, wade into the weeds of music theory as far as you like, but beware of alligators. When you feel overwhelmed, come back to base and just let your ears tell you what you like, guided by songs that already prove what works:

The Naked and the Famous “Teardrop” 

Gmaj | Fmaj | Cmaj | Gmaj

Ebmaj | Fmaj | Gmaj | Gmaj

Gnarles Barkley “Crazy” 

Gmaj | Bbmaj | Ebmaj | Dmaj

Once you’ve got some of those b6 and b7’s under your belt, try remaining on the 1 in the bass or root. This creates a ‘pedal tone,’ where the bass remains on a single pitch while the triads above move around:

Michelle Branch “Love Me Like That” - pedal tone G, while the triads above move from Eb major to F major and back to G.

One more way to grow your vocabulary is to hawk a chord progression from a song you know and slow the tempo way down. As you play, change the harmonic rhythm as feels natural. You may recognize several new songs emerging from the ash. Slowing the tempo means a new groove and feel, and implies a new melodic rhythm on top. The longer notes that sounded good over the faster tempo no longer flow, and shorter length notes provide the propellant the song now needs to move forward with the current.

With all the possibilities from chord types, feels, melodies, and words, there are endless ways to express ourselves. Take heart in knowing you don’t need to learn them all to decide what feels good for you. Explore a single tool at a time, and employ it to write just one song. Then, it will be part of your toolbox forever.

Stay creative,