Sam Lewis - Never Again Chords
P AGE I NDEX
half dozen.10.1 Chase Charts of Four Groups of Gold Standard Songs
6.ten.ii Group 1: List of Great Songs without Modulation or Chromatic Chords
6.10.3 "Heartbreak Hotel": I – IV – V Eight-bar Blues
6.10.four "Tracks of My Tears": Suspense of Half-closes
6.ten.v "Jambalaya (On the Bayou)": The Strongest Chord Progression in All of Music
6.10.6 Twelve Bar Blues: Deceptive Cadence and "Turnaround"
6.10.7 "When a Man Loves a Adult female": Another Kind of Deceptive Cadence
half-dozen.10.8 "Walking After Midnight": Progression Reversal
6.x.9 "Five Foot Ii, Eyes of Blue": Consecutive Secondary Dominants
six.x.ten "Hey Joe": A Fifths-upward Progression That Works
half dozen.ten.11 "Return to Sender" (And Loads of Other Songs That Use the Same Progression): A Mellifluous Thirds-based Progression
vi.10.12 "Midnight Train to Georgia": Totally Fugitive Fifths Upwardly
half dozen.10.xiii "Danny Boy": A Petty Mode Mixing without Modulating
vi.10.14 "Moondance" A Classic of the Small-scale Fashion
6.10.fifteen "All Along the Watchtower": A Masterpiece with 2nd Progressions Merely
6.x.16 "I've Got You under My Skin" A 20-chord Masterpiece
6.ten.17 "Yesterday": One of the Most Covered Songs of All Time
six.x.18 "The Star Spangled Banner": A British Teen's Greatest Hit
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half-dozen.10.1
C HASE C HARTS OF F OUR Thou ROUPS OF Chiliad OLD S TANDARD S ONGS
The purpose of fine art is to stop time.
—BOB DYLAN
You're about to learn chord progression techniques from some of the world's greatest songwriters, including:
| Otis Blackwell Hoagy Carmichael Bob Dylan George Gershwin Jagger and Richards Antonio Carlos Jobim Carole King Lennon and McCartney Gordon Lightfoot Joni Mitchell | Van Morrison Willie Nelson Cole Porter Otis Redding Smokey Robinson Richard Rodgers Paul Simon Kurt Weill Norman Whitfield Hank Williams, Sr. . . . and others |
The following sections examine the chord progressions of four groups of brilliant songs, using Hunt charts.
• Group 1: Songs without modulation or chromatic chords
• Group two: Songs without modulation, with chromatic chords
• Grouping 3: Songs with modulation, without chromatic chords
• Grouping 4: Songs with modulation and chromatic chords
Chapter two discussed why there's no such matter every bit "progress" in music. If y'all aspire to artistry in songwriting, every bit opposed to hackdom or fashion, then you seek to create classics, songs that transcend fourth dimension, performer, and genre:
1. Fourth dimension Independence. People who first hear the vocal decades after it was written accept to the song and want to hear it and play information technology and sing it repeatedly.
2. Performer Independence. The vocal works well if someone other than the original performer does a cover.
iii. Genre Independence. A performer working in a genre other than the genre associated with the original recording can render the song in a palatable way.
With the exception of a couple of centuries-old public-domain songs, the iv groups of songs coming up for chord progression analysis were composed over a roughly fifty-year flow, from the 1920s to the 1970s. Most people would consider these songs to be classics.
A reminder: a Hunt nautical chart only represents the chord progression of a song—not the tune and non the rhythmic elements.
6.10.2
G ROUP i: L IST OF Chiliad REAT Due south ONGS W ITHOUT M ODULATION OR C HROMATIC C HORDS
Here's the first group of songs, about all of which are on the Gold Standard Song List. All of the songs in this grouping stay in the i key and do not borrow chords from other keys.
•"Heartbreak Hotel"
•"Tracks of My Tears"
•"Jambalaya (On the Bayou)"
•"When a Human being Loves a Woman"
•"Walking after Midnight"
•"Five Foot Two"
•"Hey Joe"
•"Render to Sender"
•"Blue Moon"
•"Centre and Soul"
•"Midnight Train to Georgia"
•"Danny Boy"
•"Moondance"
•"All along the Watchtower"
•"I've Got Y'all nether My Peel"
•"Yesterday"
•"Star Spangled Banner"
Study the Chase charts that follow. You'll pick up a lot of useful data about what makes the chord progressions work in these tunes. Y'all'll also acquire how piece of cake it is use Chase charts to map the chord progressions of your own tunes or whatever other vocal with a chord progression you're curious virtually.
vi.ten.iii
"H EARTBREAK H OTEL ": I – Four – V E IGHT-BAR B LUES
"Heartbreak Hotel" was introduced every bit an example a little earlier. Have a await at Figure 76 equally you lot become over the basic "rules" for doing Chase charts.
FIGURE 76 Hunt Chart of "Heartbreak Hotel"
Chase Chart Basics
1.Offset with a drawing of the circular harmonic scale with Nashville Numbers (Roman numerals) on the inside of the circle and the chords of the particular key effectually the outside. Remember: the Nashville Numbers on the inside never change only the chords around the outside do change. You will find the circular harmonic scales for all 12 major/minor pairs of keys in Appendix ane. Y'all can choose any key you like. In "Heartbreak Hotel," the selection of the key of E major/C♯ minor is purely arbitrary.
ii.To map the chord progression, start with the song's get-go chord and draw an arrow to the chord it changes to other than a variant of the first chord.
In the instance of "Heartbreak Hotel," the kickoff chord is E major. The next chord is E7, a variant of E major. For this chord change, y'all don't need to depict an pointer, since E7 is but a variant of East major. All you lot need to exercise is label the chords at Nashville Number I as E and E7 to signify that the chord Due east and its variant E7 both announced at this position.
Next, the progression goes to A7. So the first arrow you lot draw goes from Nashville Number I to Nashville Number IV on the inside of the circle. (Nashville Number IV corresponds to the "A7" on the outside of the circle, a variant of what would normally be the chord "A".)
3.Label the first arrow with the number "1" and draw a piffling circle at the base of operations of the pointer labelled "1". This serves as an easy visual marker that shows where the chord progression within the circular harmonic calibration begins.
4.Adjacent, the progression goes to the chord B7, so draw an arrow from the A7 position (Nashville Number Iv) to the B7 position (Nashville Number V7). Number that arrow "ii."
5.Finally, the progression goes from B7 dorsum to the tonic chord, E. And so depict one more arrow from the B7 position (Nashville Number V7) to the tonic chord, and number that arrow "3."
half-dozen.If the same chord alter repeats, practice not give the arrow another number.
For a unproblematic chord progression such as the one for "Heartbreak Hotel," you lot'll only need to use 1 circle to map the whole progression. As you'll run into later, if the chord progression gets complicated, a Chase chart tin can go cluttered with likewise many arrows. When that happens, all you need to do is first some other circumvolve and continue on. Draw as many harmonic scale circles equally you need. You lot may need several harmonic scale circles to exercise a Hunt chart of 1 vocal.
Also, wherever the chord progression takes an obvious plow, which oft happens when verse changes to chorus or bridge, beginning a new harmonic calibration circle.
"Heartbreak Hotel" is an excellent instance of a chord progression that orbits clockwise around the gravitational heart, the tonic chord. The progression moves from harmonic degree I to Four to V7 to I.
Yous tin can think of the chord progression for this vocal every bit a variation of the classic 12-bar dejection blueprint. Information technology's just compressed into 8 bars.
6.10.4
"T RACKS OF M Y T EARS ": Due south USPENSE OF H ALF-CLOSES
The Chase chart of this song'south chord progression shows the aforementioned iii-chord orbit pattern equally "Heartbreak Hotel." But "Tracks of My Tears" has a subtle alter in the chord progression of the chorus that makes a big difference (Figure 77):
FIGURE 77 Chase Chart of "Tracks of My Tears" (Words and Music by Smokey Robinson, Warren Moore, and Marvin Tarplin, 1967)
In the verse, one-half closes alternating with full closes. A half shut or one-half cadency is an imperfect cadency, a cadency that ends on the ascendant chord. It leaves the ear in suspense, waiting for resolution.
In the chorus, unlike the verse, half closes continue until the end of the chorus. This infuses the chorus with a greater urgency to resolve. It keeps your brain in suspense.
It'southward better to use a string of half closes like this in the chorus than in the verse. It'southward an constructive technique used masterfully in this vocal.
vi.x.5
"J AMBALAYA (O Northward THE B AYOU )": T HE S TRONGEST C HORD P ROGRESSION IN A LL OF M USIC
Wanna write a two-chord classic song? Yous could not choice two meliorate chords than I and V7. Hank Williams, Sr., shows how it'southward done (Figure 78).
Figure 78 Hunt Nautical chart of "Jambalaya (On the Bayou)" (Words and Music past Hank Williams, Sr., 1952)
Chord progressions don't get any simpler. And however, over the centuries, that I – V7 – I progression has taken on all the other chord progressions in harmony and arm-wrestled them into submission.
In "Jambalaya," fully half the song has unstable ascendant seventh harmony, which keeps the listener on edge, expecting resolution.
In this song, Hank's doing some interesting things melodically, likewise, which is why everybody knows the tune. It'south fashion, way easier to write a dull ol' country song with a I – V7 – I chord progression than a great classic country song with a I – V7 – I. Chapter 9 discusses in detail what goes into making a memorable tune.
six.ten.6
T WELVE-BAR B LUES : D ECEPTIVE C ADENCE AND "T URNAROUND "
You saw how the chord changes in "Heartbreak Hotel" and "Tracks of My Tears" merely orbit the tonic chord. Same thing with zillions of songs. Normally the orbit goes clockwise.
But sometimes the orbit reverses itself (Effigy 79):
FIGURE 79 Hunt Chart: 12-bar Blues
The final four-bar phrase of a 12-bar blues melody commonly contains a deceptive cadence. That is, the V7 chord (B7 in the above example) does not resolve directly to the tonic.
The progression instead takes a detour through the IV chord (A in this example), comes to rest briefly on the tonic, then immediately "turns around" on the V7 chord to get-go the cycle over once again. This keeps the tune driving on.
A cadential chord formula of this nature, commonly in the concluding bar or two of a department, is called a turnaround. Some players call it a turnback.
vi.10.7
"W HEN A Thousand AN 50 OVES A W OMAN ": A NOTHER Chiliad IND OF D ECEPTIVE C ADENCE
The Chase chart of the poesy of this song maps some other way of using a deceptive cadence to go on your brain in suspense and the progression moving right along (Figure 80).
Effigy 80 Chase Chart of "When a Man Loves a Woman" (Words and Music by Calvin Lewis and Andrew Wright, 1966)
This fourth dimension, the progression moves from the V chord to the VIm chord, and then to the I (tonic) chord, which takes the course of its unstable seventh variant (C7).
The tonic seventh in turn demands to motion on to the Iv chord. This keeps the progression moving, mostly via fifths and seconds, with just a single tertiary progression (Am – C7).
6.10.viii
"Westward ALKING A FTER M IDNIGHT ": P ROGRESSION R EVERSAL
In this tune, the Hunt chart shows that three variant chords occupy harmonic caste IV: two in the verse and one in the chorus (Figure 81). These three chords are IV7, IVm7, and Four (F7, Fm7, and the default F, respectively).
"Walking After Midnight" is really a three-chord song, with variant chords at Nashville Number 4 to provide harmonic diversity. (Lyrically, the song is in the best tradition of country music, describing what information technology's like to stagger out of the saloon at midnight, only to find that your horse got bored and lonesome waiting effectually in the street and went home without you.)
FIGURE 81 Chase Chart of "Walking After Midnight" (Words by Don Hecht, Music by Alan Block, 1956)
"Walking After Midnight" uses a chord progression technique you'll find in many country songs: the progression reverses itself in the chorus.
The verse progresses by and large in the common fifths-downwards pattern. But in the second part of the chorus, the pattern reverses to fifths up through the tonic. This creates a solid harmonic dissimilarity between poesy and chorus, providing more harmonic variety)
6.10.9
"F IVE F OOT T WO, E YES OF B LUE ": C ONSECUTIVE S ECONDARY D OMINANTS
Sequent secondary dominants impart substantial forward momentum to a melody. They're sevenths, and therefore unstable. And they move in fifth-down progressions. Here's a archetype instance (Figure 82):
Figure 82 Chase Chart of "Five Human foot Two, Eyes of Blue" (Words by Sam Lewis and Joe Young, Music by Ray Henderson, 1925)
This chord progression happens to skip the chords F and Bº. What would happen if information technology didn't? What happens when the progression goes from the I chord, C major, to the IV chord, F major, in the class of a secondary dominant, F7?
An interesting situation arises.
If yous desire to proceed with a string of secondary dominants, then the chord F7 would normally exist the secondary dominant of B♭, not B. Therefore the progression would exist on its fashion out of the key.
How come? Because the progression IV – VIIº is the only progression in the circular harmonic calibration where in that location are 6 semitones between the root notes of next chords, instead of five semitones (Tabular array 47).
Tabular array 47 Semitones Between Chord Roots in the Harmonic Scale
| Chord Progression | Example: Key of C / Am | Semitones Between Chord Roots |
| I – IV | C – F | 5 |
| IV – VIIº | F – Bº | 6 |
| VIIº – III7 | Bº – E7 | five |
| III7 – VIm | E7 – Am | 5 |
| VIm – IIm | Am – Dm | v |
| IIm – V7 | Dm – G7 | v |
| V7 – I | G7 – C | five |
So, if F7 were to progress to B♭seven, then B♭7 would be the secondary dominant of E♭. And then B♭7 would function as a pivot chord, taking the progression into the new cardinal (key of Due east♭).
Yet, F7 can too proceed pretty smoothly to Bº7, which is harmonically close to B♭seven:
Bº7 = B, D, F, A♭
B♭7= B♭, D, F, A♭
And, being highly unstable, Bº7 seeks to move on to the side by side chord, which is E7. And so the progression remains in the prevailing key.
six.10.10
"H EY J OE ": A F IFTHS-Up P ROGRESSION T HAT West ORKS
With then many fifth-up chord changes, why does this song, immortalized by Jimi Hendrix, sound palatable (Figure 83)?
FIGURE 83 Chase Chart of "Hey Joe" (Words and Music by Baton Roberts, 1965)
Three reasons:
i.Movement to whatsoever chord from any other chord of the same blazon sounds palatable—specially if such motion forms a regular design of some kind (run across the 10 chord progression guidelines near the end of this chapter). In this case:
•All of the chords are the aforementioned blazon (major triads), and
•The progression moves in the same fifth-up steps.
two.Using only consonant chords (major triads) helps first the sonic weirdness of then many consecutive fifths upwards.
3.The first fifth-upward progression is from the tonic chord, which makes it perfectly palatable, as discussed earlier in this chapter.
6.ten.11
"R ETURN TO Due south ENDER " (A ND 50 OADS OF O THER S ONGS T Lid U SE THE Southward AME P ROGRESSION ): A M ELLIFLUOUS T HIRDS-BASED P ROGRESSION
This smooth progression owes its lack of strength to the ii consecutive third progressions at its eye, clearly mapped in this Chase chart. In this example, the tertiary progressions are C – Am, and Am – F (Figure 84).
FIGURE 84 Chase Nautical chart of "Return to Sender" (Words and Music by Otis Blackwell and Winfield Scott, 1962); "Bluish Moon" (Words past Lorenz Hart, Music by Richard Rodgers, 1934); "Heart and Soul" (Words by Frank Loesser, Music by Hoagy Carmichael, 1938); and a Zillion Other Songs Using This Progression
The first version of this progression uses consecutive thirds ... C – Am, followed past Am – F ... which makes the progression sound a fleck also predictable and dull.
In the 2d version, making Dm the tertiary chord in the progression (instead of F) creates three consecutive downwardly fifths of default chords.
Either way ... C – Am – Dm or C – Am – F ... this progression plays it safe.
On the other hand, while not vigorous, this progression has much to offering in some songwriting situations. It rolls right along with a stability and inevitability that's well suited to lightweight lyrics. Many 1950s ballads and pop tunes have this progression.
6.10.12
"M IDNIGHT T RAIN TO G EORGIA ": T OTALLY A VOIDING F IFTHS U P
The Chase chart of "Midnight Train to Georgia" shows how this unusual progression avoids all fifths upwards, even fifths up to and from the tonic (Figure 85).
Both the verse and chorus are mapped on a single harmonic scale chart. It's getting a tad cluttered. If you are doing a chart and find it'due south getting too filled upward with arrows, break information technology upwardly into two or three (or more than) dissever harmonic scale circles, each showing the chord "map" for a different department of the song. In this example, the Hunt chart could well have been broken into ii parts, ane for the poetry, the other for the chorus.
FIGURE 85 Hunt Nautical chart of "Midnight Train to Georgia" (Words and Music by Jim Weatherly, 1973)
Although the progression has several fifths downwardly, they do not form bondage of three or more than (as in the previous example). This preserves their force while preventing predictability.
The song too features a dynamic, repeating upwards second progression (Em7 – F – G), which propels the harmony forwards with considerable vigour.
There are fifty-fifty a few third progressions, up and down.
Variety makes this a powerful chord progression. A good mixture of fifths, thirds, and seconds keeps the harmony interesting while never straying from solid tonality.
6.10.13
"D ANNY B OY ": A Fifty ITTLE One thousand ODE M IXING W ITHOUT M ODULATING
First, the words and chords:
This fourth dimension, the Hunt chart is cleaved into two parts. The first one maps the verse, the 2nd maps the chorus (Figure 86).
Effigy 86 Chase Chart of "Danny Male child" (Words by Fred Weatherly, 1913; Music by Rory Dali O'Cahan, ca. 1600)
The Chase nautical chart of "Danny Boy" reveals a skillful mixture of fifths and thirds, with a brief second progression in the last phrase.
The notable affair about this progression is the smoothness (thanks to the third progressions) with which information technology integrates chords from the relative small. The minor chord influence suitably matches the melancholy mood of the lyric.
This song goes back to Shakespearean times. The blind Irish harper Rory Dali O'Cahan wrote the melody that became known as "Londonderry Aire." Fred Weatherly, an English lawyer and lyricist, bundled his already-written lyric, "Danny Boy," to fit the tune. The match became one of the world's greatest songs.
half dozen.x.14
"Yard OONDANCE " A C LASSIC OF THE One thousand INOR One thousand ODE
2nd progressions and the pocket-size mode combine to make the harmony for "Moondance" distinctive and evocative. The Chase nautical chart reveals that the variant chord VIIm7 (Bm7) replaces the default chord VIIº (Bº) in the verse.
The progression shuttles between this variant chord and the tonic, itself a variant in the grade of a minor seventh (Am7). These two somewhat dissonant minor seventh chords set the mood (Figure 87).
FIGURE 87 Hunt Nautical chart of "Moondance" (Words and Music past Van Morrison, 1970)
Then what happens? In the span/chorus, the harmony switches over to the other side of the tonic (the fifths downward side), leaving the VIIm7 chord out of the film.
The bridge/chorus provides fantabulous harmonic dissimilarity to the verse. The song remains solidly in the minor mode. The progressions in the bridge/chorus are fifths downwardly and seconds up. No thirds.
half-dozen.ten.fifteen
"A LL A LONG THE Westward ATCHTOWER ": A K ASTERPIECE WITH S ECOND P ROGRESSIONS O NLY
The post-obit discussion refers to the original Dylan recording on the album John Wesley Harding, non the more famous (and equally magnificent) Hendrix cover.
This vocal spends half its fourth dimension in modest and half in major harmony. Just it doesn't really modulate because it does not establish a tonal centre exterior of the key of A minor.
The Chase chart of this three-chord vocal reveals no fifth or 3rd progressions at all—but second progressions. The chords simply move dorsum and forth between A pocket-sized (the tonic chord) and F major, via the transient G major chord (Effigy 88 below).
The G major chord plays a vital role considering, although it serves in a transient chapters just, its presence turns what would otherwise be a relatively weak third progression (Am – F) into a pair of strong second progressions (Am – Yard and 1000 – F).
Figure 88 Chase Chart of "All Along the Watchtower" (Words and Music past Bob Dylan, 1968)
As for harmonic contrast, because the 1000 major chord is transient, every bit noted, the song spends nearly half of its fourth dimension in the minor mode, the other half in major.
With no fifths in sight, the vocal does not use any class of conventional cadency. It goes on and on restlessly, shifting dorsum and forth, dorsum and forth, major to minor to major to minor, until the song ends on the pocket-sized chord, the primal's tonic chord.
vi.10.xvi
"I 'VE G OT Y OU U NDER K Y S KIN " A xx -CHORD 1000 ASTERPIECE
Now for the other extreme. How in blazes does Cole Porter stuff this exquisitely-wrought three-infinitesimal masterpiece with xx—count 'em, twenty— chords without modulating, and without borrowing chromatic chords?
First, an inventory of the chords he uses in "I've Got Y'all Under My Skin." Starting with the major tonic chord and moving clockwise around the harmonic scale, here are all the chords (Table 48):
Table 48 Inventory of Chords: "I've Got Yous Under My Skin"
| Nashville Number | Default and Variant Chords | |||
| I | C | CM7 | C7 | Cº |
| IV | F | Fm | Fm6 | |
| VIIº | B | Bm7 | ||
| III7 | E7 | |||
| VIm | Am | Am7 | A | A7 |
| IIm | Dm | Dm7 | ||
| V7 | Thousand | G7 | G+ | G7♭9 |
Even though the vocal has a lot of small-scale chords, it does non modulate because, by definition, modulation means establishing a new tonal centre. This song does not practise that.
The progressions takes quite a few twists and turns, so iv harmonic scales are enlisted to map the whole thing (Figure 89 below).
The first harmonic scale in the Chase chart shows that the vocal begins conventionally enough with a repeating sequence of fifths downwards. A couple of interesting points:
•Porter starts the song on the IIm chord instead of the tonic.
•He uses small-scale seventh variant chords in place of minor default chords for added push button.
This four-chord progression repeats fours times, firmly establishing tonality.
Then, as the Chase chart maps, in the 2d and third harmonic scales, Porter brings in the other iii degrees of the harmonic scale, and simultaneously introduces a lot of variant chords at every harmonic degree except III7 (E7). The effect is a rich harmonic feel without the slightest sense of loss of tonality.
Finally, the song returns to the same wheel of chords it began with (more than or less).
FIGURE 89 Chase Chart of "I've Got You Under My Skin" (Words and Music by Cole Porter, 1936)
"I've Got You Under My Skin" makes use of the chords of all vii degrees of the harmonic scale—a comparative rarity. Here'southward another 1 that does the same thing.
vi.10.17
"Y ESTERDAY ": O NE OF THE M OST C OVERED Southward ONGS OF A LL T IME
As this Hunt chart shows, within the first verse, "Yesterday" goes through all seven harmonic degrees. McCartney uses notable variant chords at ii harmonic degrees:
•M major in place of G minor at harmonic degree II;
•Em7 in identify of Eº at harmonic caste Seven.
The minor seventh serves well as a variant of the diminished chord at harmonic degree VII because the minor 7th contains two out of three of the notes of the diminished chord (Eº = East, G, B♭; Em7 = East, 1000, B, D). This is the same variant chord Cole Porter uses in "I've Got Y'all Nether My Skin."
It's notable that the very first chord alter is I – VIIm7, an unusual move. As discussed in "ten Chord Progression Guidelines" at the end of this affiliate, movement to any chord from the tonic chord sounds palatable, although information technology usually happens after tonality is firmly established. Not the example here. (Figure xc below)
FIGURE 90 Hunt Chart of "Yesterday" (Words and Music past John Lennon and Paul McCartney, 1965)
The verse ends with a plagal cadence (4 – I), which is somewhat unusual.
The chords used in this song are just ordinary majors, minors, and sevenths. Just chord progression variety—an interesting mixture of fifths, thirds, and seconds (and a couple of well-chosen variant chords)—makes this melody harmonically interesting.
6.10.xviii
"T HE Southward TAR S PANGLED B ANNER ": A B RITISH T EEN'Southward G REATEST H It
Here's the chord progression arrangement used in the Hunt nautical chart of "The Star Spangled Banner" (melody composed by John Stafford Smith in his tardily teens):
As discussed in the introduction to modulation in Affiliate 5, "The Star Spangled Banner" uses a tonicization or two, merely doesn't really attune (Figure 91).
Figure 91 Chase Nautical chart of "The Star Spangled Banner" (Words by Francis Scott Primal, 1814; Music by John Stafford Smith, ca. 1768)
As the above Hunt nautical chart shows, the strength of the chord progression—derived from an exceptionally well-synthetic melody—resides in its robust seconds and descending fifths.
Third progressions appear only briefly.
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Source: https://www.howmusicreallyworks.com/Pages_Chapter_6/6_10.html
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