When it comes to chord progressions, most of us accuse our songs of lacking. We know there are great progressions out there because we hear others using them. But when it comes to our own songs, those progressions seem reserved for the cool kids, hanging out in unsupervised parties we weren’t invited to. 

No matter the style of music we write, expanding our vocabulary of chord progressions can result in new songs, increased confidence, and some serious fun. And as with any songwriting journey, we get to where we’re going one step at a time.

The chords we choose, along with the harmonic rhythm with which we play them, establish the vibe of the song. The chord progression can serve a simple function in a song, providing a stable foundation while the melody and lyric play, or they can steal the show. An example of stable and simple might be Lenny Kravitz’ “I Belong To You,” whereas stealing the show might be John Mayer’s “Neon.” The harmonic rhythm (think strumming pattern on guitar), along with the chords results in the ‘vibe’ of the song - it expresses the character through music that will be reinforced in the other elements of melody and lyric.

Chords themselves function like a current in a river. They move the song forward through tension and release, like magnetism of various strengths propel us in a certain direction. Like a good “Choose Your Own Adventure,” chords can pivot in function to more than one outcome. This is what makes their movement so interesting - we get to interpret their meaning, directing their energy where we feel they should go.

Music theory helps us understand the relationship between chords. We begin to hear the subtle, or not so subtle, intimations a chord has as it stirs up the water and creates a current towards another chord. Alternate tunings can lead many songwriters and guitar players take cues from the musical moments, without needing to name the chords or the suspensions they involve. This intuition is what is so valuable to us when we write, and it’s these instincts that I am so passionate about developing in myself and others to become more acutely aware of the characters and emotions we cast in our songs. 

So instead of searching for those weird chord progressions that might distinguish our song from the Niagara Falls of Spotify playlists, our goal should be to explore, to move places on the fretboard or over the keys that encourage our intuition to speak. In any song, the purpose of harmony is to underscore the vibe which further concentrates the character and makes the message in the words more true. And instead of getting more tricky, the key is often to simplify. 

The simplest chord progression in 4/4 time could very well be a G major chord, once per bar, for four bars. 

Gmaj | Gmaj | Gmaj | Gmaj

With only one single chord, we might choose to move our melody on top, so that the song doesn’t sag but generates energy - think Funk music. It’s all about the rhythm of the melody over a dynamite groove. 

Now if we change chords underneath that same melody, like G major for two bars and then C major for two bars, the chord progression is now creating movement, some tension that ultimately will call for release. 

Gmaj | Gmaj | Cmaj | Cmaj

Gmaj | Gmaj | Cmaj | Cmaj

We’ve just begun to use chords to produce a current. 

Now, if we add a little more complexity and change chords with each bar, we produce even more current, more movement. 

Gmaj | Amin | Emin | Dmaj

Gmaj | Amin | Emin | Dmaj

But is this movement better or more desirable than a simple G major chord across four bars? How would we decide if it’s better or worse? 

In the end, the only real determinant is that we like it. If we resonate with it, and it affords melodic and lyric ideas we can get behind, then we may label it as ‘good.’ 

There are some progressions that rely on melodic movements to make them make good musical sense. In other words, the chord progression on its own may be somewhat jarring, but the melody acts as glue to give their movement from one chord to another purpose. As I write this, I’m thoughtful about Soundgarden’s “Black Hole Sun,” or Switchfoot’s “If I Were You.” Looking at the chord progression alone, I may decide the movement is jerky at times. But in context of the character these songs express, and with the help of a melody that acts as glue, these chord progressions become the fabric on which the whole song is built. In my opinion, this is what makes any song tick - that each element enhances the same fabric, rather than collides two fabrics telling different stories.

In my next newsletter, I’ll continue building on the idea of simplicity, adding some easy and fun tools for taking the boredom out of our progressions.

Stay Creative,