Notes between these basic letters are indicated by sharps (fi) or Jlats (b), depending on

the context. These accidentals can be cancelled by a naturalsign (l). Below, the ties
connect different note names for the same pitch. The set of all twelve notes, in an
octave, is called the 'ochromatic scale."

rr88EE
j' j'
Glrq1¡1¡qGttO
=' =' =' ='

l! , [! , ,!
@ @ o @ o o @ @
Key Signatures

Kq signatur¿s indicate a tune's key and show which notes automatically get sharps
or flats. Accidentals on the lines and spaces in the key signature affect those notes
throughout the tune unless there is a natural sign. Here are the key signatures used
in this book.

C Major G Major A Major E Major

A Minor E Minor F# M¡nor cd M¡not

Chords
All chords have three defining characteristics: the root, type, and added notes.

* Roots are the musical letter names (A, Bb, Fil).

a Typesinclude major, minor (min), diminished (') and augmented (+). In this book,
we abbreviate minor as *min." You may also see lowercase "m" or a dash (-).

* Added notes are any numbers that are in the note name (7, 9, 13).

Chords are named with these three parts, for example:

Amin A minor has an A root, minor type, and no added notes.

C C major has a C root, major type, and no added notes. (In this book,
we usually omit the word "m{o¡" when used to describe a chord gpe.)

Bb7 Bb7 has a Bb root, major spe, and a 7 added.

EminT(9) EminT(9) has an E root, minor type, and a7 and 9 added.

Most of the examples in this book use major and minor chords, with different notes
added to them.
Transposition
Transposing means changing the key of a song. This can make it easier to play or
easier to sing.

Transposing songs from one key to another is easy:

I Move all of the chord roots the same distance.

f Keep the tl?e and added notes the same, relative to the new root.

If you have trouble transposing, tryusing this chart. For example, let's transpose the
progression "Bb GminT CminT F7" to make it easier to play. Begin by choosing the
first chord (Bb). Then, follow this procedure:

1. Chart the first chord's root. In our progression, the chord roots are the notes Bb,
G, C, and F. Locate the first chord's root (Bb) on the chart. The "O" (original) in
the chart above shows its location.

I Locate the target transposition. Let's transpose this Bb chord to C, so that it will
be easier to play. The C chord is marked with a "T" (transposition) in the chart.

J. Count the distance. In this case, C is two spots to the right of gb. Ttris corre-
sponds to two higher frets on the guitar, two higher keys on the piano, or two
higher notes of the chromatic scale.

4. Transpose the other chords. Moue all other chord roots the sam.e distanc¿-in this
case, two spots to the right. They change as follows:

. Bh becomes C

o G becomes A
o C becomes D
o F becomes G

5. Return the types and added notes to the chord roots. The transposed progres-
sion is much easier to play.

Original Progression: Bb GminT CminT F7

Transposed Progression: C AminT DminT G7

The appendix shows charts of notes and guitar diagrams for many chords in many
keys and transpositions.

Now, let's write some songs.

?fue §emgwrgÉ*ris BW &v s§t*p: l*erre*§'?H
The Songwriter's Worhshop series is designed for songwriters at all levels-from begin-
ners who can't read a note of music to professional songwriters who are looking for
new ideas to spice up their work. Each book presents a set of tools for writing songs,
with practice exercises. These took, exam,ples, and exercises are all based on hit songs.

This new approach to teaching songwriting is based on using your ear. It makes song-
writing easy, fun, and intuitive. There are tvvo main goals. First, you will be able create
chord progressions and grooves in any of the five most common key colors. Second,
you will be able to use harmony to bring out the meaning of your lyrics.

Learning to use these tools and techniques will have a profound effect on your
writing. After completing the lessons, you will be able to:

§ Generate original variations of any chord progression you learn.

* Create chord progressions that capture the feeling of a lyric story.

§ Create chord progressions that fulfill your audience's expectations-or surprise

them.

§ Use chord progressions to emphasize your song's title.

* Develop your ideas into complete song sections.

* Compose song sections that work well togethe¡ but include enough contrast to
keep your ideas sounding fresh.

Do these books. Don't just read them. Doing the exercises will help you absorb each
tool into your soul, so that you can use the tool to express what you feel. Song-
writing is like learning a language. First, you learn the tools of language-¡ /6¡c15, 2¡d
sentences that put the words together to express ideas. Then, you learn the tools and
techniques of songwriting, and explore songs that use these techniques to express
ideas. In this way, you build an "internal library" of ideas, which you can draw upon
when you want to articulate what you feel.

Throughout this book, you'll use chord progressions from real hit songs, but will also
learn to create your own variations. In using the hits as a starting point, you'll learn
to write the way professional songwriters do: borrowing successful elements from
various sources, and then reworking them into something new and unique. This
approach provides a solid foundation for your new ideas.

Each lesson presents a songwriting tool and then lists songs of different styles that
use it. Learn those songs or others like them. Learn from recordings and from fake
books. This will build your inner library of songwriting tools.

Though the inspiration for a song may come fiom your heart, the ability to create a song
is a skill. As you hone your songwriting skills, your expressive skills will improve also.
Songwriting Cycle
Songs grow out of four dimensions, as shown below: melody, harmon¡ form, and
lyrics. When you create a song, you will be working with all four aspects, switching
between them constantly. Ideas about a chord progression may lead you to a melody,
or a lyric may lead to an idea about form.

Lyrics

This book is about harmon¡ and as you perform the exercises, harmony should be
in the forefront of your concentration. After this book, your attention to harmony
should return to be in balance with the other elements. As this book will enrich your
ability to create chord progressions, the other books will enrich your abilities with
the other dimensions of songwriting.

Harmony Cycle
Harmony in songwriting includes five dimensions: chords, ke¡ rhythm, lyrics, and
melody. Though this book's exercises generally address one dimension at a time,
when you write your own songs, you most likely will be working with more than one
of them at the same time.

r* Lvrics R

-
 How to Use This Book

Each unit addresses a different type of harmonic tool, with two groups of lessons.
The "Ideas" lessons (part A) present tools for creating chords or chord progression
ideas. The "Song Sections" lessons (part B) help you develop these ideas into songs
or song sections. Each lesson presents a tool, gives examples of hit songs that use
the tool, shows how the tool can be used, and then offers a series of exercises. The
accompanying CD lets you hear the tool being used in a song. It also provides drum
tracks for you to try out the chord progressions and songs you create. Set aside at
least half an hour to work on each lesson.

You'll develop the ideas you created in each unit's "Ideas" lessons in the "Song
Sections" lessons. I suggest that you use a tape recorder or notate the music. \Alhen
you practice your ideas and songs, feel free to use your own rhythm tracks. If you
play a guitar or keyboard, you can use different chords than the ones used on the
recording.

Each lesson will explore ways that you can use the songwriting tools. You may be
asked to create a groove, select keys that reflect the overall emotion of the song, or
use harmony to emphasize particular lpics.

Each lesson follows the same two-part format: first, it presents the concept, then it
gives you exercises. There are also listening exercises, and as you listen, try to follow
the music notation. Since this series is based on using your ear, you don't need the
notation to learn the tools, but do watch the notation as you listen. It's the easiest way
to learn to read music. Reading the lyrics will help you keep your place.

After you listen, play along with each track, to train your ear and understand the
tool. After the audio example is a discussion of the tool's musical effect, its effect on
the ll,rics' emotional content, and its common uses.

Exercises

The exercises in each lesson are presented in four levels. Do at least one leael in each
lesson. Late¡ go through the book again and try a different level. The levels are
designed for songwriters at many levels of experience, and as you grow as a song-
writer, you will use this book in different ways. Here are the levels of exercises:

Practice exercises delveinto the tool in its simplest form. They are especially suit-
able for beginning songwriters. At this level, you will learn the tool by changing one
aspect of the given example.

R¿urite the Hits exercises bring you into real-world examples of how songs are written
by professionals. You will choose a song you know that uses the tool, and then you
will rewrite it. This is the most com,m.on way that professionals write songslWe take a small
idea from an existing song we love, or in the style we are trying to imitate, and use it
as a jumping-off point for our own unique song.

Create Your Oun Melody exercises arefor writers who can create melodies. Songwriters
sometimes work together, with one writer focusing on melody and the other on
harmony. These exercises will help you practice adding melodies onto chord progres-
sions studied in the lesson.
t
i

I
Write a Sorzg exercises give more experienced songwriters the opportunity to create
full songs based on the tool being discussed. Though the lessons are based on simple
scales and chords, you can practice using the tools with more complex materials. At
this level, you create complete songs with the lesson's tool, and also get some tips for
creating contrasting song sections.

Do whatever level inspires you. The level you choose may depend on your skill level,
your mood, or how much time you have. The important part is that you put the tools
into practice as soon as you learn them. Whenever writer's block strikes, flip through
the book for some quick ideas.

As you learn these tools of harmony, think about what the song's lyric story might be
about, and how the tools can support the lyric. The goal of harmony is ultimately to
strengthen üe emotional impact of your song. Understanding how these tools can
help to support your lyrics will make the tools much more useful to you.

Every songwriter is unique, and you will come to use these tools of harmony in your own
way. Eventually, you will use üem without thinking about them, andjust write by ear.

Good luck!

Jimmy Kachulis
Professor
Berklee College of Music
We begin the exploration of harmony in songwriting with a discus-
sion of grooves. Rhythmically speaking, a groove is made up of the
tempo, feel, rhythmic level, and rhythmic motives. These rhythmic
elements combine with chords to reflect the meaning of the ly.i.
story.

Some songwriters begin their creative process by writing the

groove. Then, they create lyrics that reflect the emotion of the
groove. Alternatively, some create the lyric story first, and then find

a groove to reflect the lyric emotion. Either approach is fi,ne, as long

as the lyric story and the feeling of the music are intimately connected.
In part A, we will look at how to \erite grooves. Look at the elements of a song in this
orde¡ when developing a groove:

1. Tempo is the speed of the song. \Alhat speed brings out the emotional meaning
of the lyric story? Fast? Medium? Slow? Each tempo has its own feeling.

2. Feel is the style that the song is in. \A/hat style would reflect the song's story?
Rock? R&B? Country? Rap? Each style also has its own feeling.

3. Rhythmic level refers to the type of r§thms that are in the groove. Does it use
whole notes? Half notes? Quarter notes? Eighth notes? Sixteenth notes? Triplets?

4. Rhythmic idea (also called "rhythmic motive") is a short, distincüve pattern that
propels the song forward. Rhythm motives are usually developed to distinguish
each song section.
 CreatÍ*§'§"S§#§**
In this lesson, we will look at four aspects of grooves: tempo, feel, rhythmic level, and
rhr"thmic idea.

\Iost hit songs are based on grooves. The groove can be as important as the melody
or harmony, especially in styles such as funk.

Listen
Listen to the following three grooves, based on a C major chord. Notice the medium
tempo and rock feel. Each groove demonstrates a different rhythmic level.

Groove 1 uses whole, half, and quarter notes.

Groove 2 uses eighth and quarter notes.
Groove 3 uses sixteenth notes.
Groove I
C

llt|
ffi

frrOOve 2
C

rrñT'r

ffi

Gmove 3
C

ffi
il
Listen again, and play a C chord along with each groove's rhythmic idea. Notice that
the rhythmic motives are all different lengths (four measures, two measures, and one
measure).

AIso notice how a single chord can yield many different ideas, when used in different
grooves. As you learn more about chords, be sure to try them in many different types
of grooves.

Writing Exercises
- ur
W # sro ove
vo ar o n g wi'lh
ffrxffi: t l,"fl .::;. :iJ::§,ñ::: HJlfli,# $1',T'

I Practice

Create a groove on any chord. Choose a tempo, feel, and rhythmic level, and create a
rhythmic idea. What emotion are you trying to communicate?

r Rewrite the Hits

Create a groove by combining a chord progression and a r§thmic motive from two
different songs. \A/hat emotion does this groove suggest?

I Create Your Own Melody

Create a groove by combining a chord progression and a rhythmic motive from two
different songs. Then create your own melodic idea over the chord progression. \Ahat
emotion does this combination of groove and melody suggest?

I Write a Song
Create a groove by combining a chord progression and a rhythmic motive from
two different songs. Then create your own melodic idea with lyrics over the chord
progression. \,Vhat emotion does this song suggest?

LESSON 1 Creating a Groove

ln part B, we will use different development tools to build song sections.
 *'á É*$
á
q3 ff&#Ye

Once you choose the tempo, feel, rhythmic level, and rhythmic motive for your song,
you can use different tools to develop it into a song section (verse, chorus, bridge,
etc.). Most hit songs develop sections out of grooves in one of three ways.

1 Exact repetition. The groove's rhythmic idea is repeated exactly.

2. varied repetition. The rhythmic idea is repeated with something changed.

3. Adding another motive. A new rhythmic idea is combined or alternated with the
original one.

Listen
Listen to the following example, based on the rhythmic ideas from lesson 1. Notice
how the ideas develop.

l. Exact Repetition
C.
! |it
Iil|
[tH Motive

Exact Repetition

2. Varied Repetition
C

mH
llil I

HTH Motive Variation

 3. Added Motive
c

ffi Motive I Motive II

Listen again, and play a C chord along with the recording. Notice that each example
develops its rhythmic idea into an 8-measure song section. Developing your song
sections from one or two rhythmic ideas helps to give the entire song a distinctive
personality.
I

'I Writing Exercises

W-Wff#il:T,1,?'L:[,:i.'::§,ñ::'JTL-.?llf J,ffJ::'voursroovearongwi'ch

I Practice

Using the rhythmic idea you created in the previous lesson, create three sections of
eight measures each.

Section 1. Use exact repetition.

Section 2. Use varied repetition.
Section 3. Use two different motives.

I Rewrite the Hits

Complete the "Practice" exercise above using a r§thmic idea from a hit song.

I Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create your
own melody on top of this groove.

I Write a Song
Complete the "Create Your Own Melody" above. Then create your own lyrics to go
along with that melody.

LESSON 2 Developing a Groove

In part A of this unit, you'll learn the four most commün chord
"colors" used in songwriting
UU and their effect on lyrics. You'll also
learn how to combine these colors with the rhythmic ideas you
learned. in unit I to create a unique groove for every song.

Songwriting is like painting. You need to choose the chord color

that best expresses the lyric's emotion. What does a painting express
if it uses mostly blue? \Alhat about red? Picasso painted in shades of
blue and red at different periods of his life. In music, one of our
main musical styles is even called "blues," and it is characterized by
a pattern of chords and colors.

As songwriters, we try to develop our awareness of musical colors.

It can be helpful to associate actual colors with sounds and feel-
ings, as a way of getting to know our chords more intimately so

that we use them more effectively. Here are some ideas for how to
develop this awareness.
r Look at a color. Then find that color on your instrument, using
notes to reflect the same feeling that color gives you.

I Play a chord and describe the color it suggests to you.

I Describe an emotion using some of the chords you learn in this

unit.

f Play a chord and describe the emotion it conveys to you.

In part B, you'll develop a chord's basic color by adding notes. You

will then use these chord variations to create grooves.

Once you have your rhythmic groove, the next step is to choose chords. Combining
the right chord colors into your rhythmic grooves will help you to express the emotion
of the lyric story.
 eh*r$ {*E*r
The first chord color is major. For most people, "major" reflects feelings that are
generally huppy and optimistic. As you play the examples in these lessons, always be
aware of the emotions they bring up for you.

Hitsongs that have grooves on a major chord include "Walk This Way" lC1,
"Emotioial Rescue" [Bb ], "Gimme Shelter" [Db ] , and many others'

l:i i :'

Major chords have three notes: the root, major third, and fifth. For example, the C
major chord has these three notes:

C
(0
 Listen
tisten to the C major chord, first strummed (all notes at once) and then played as an
u@io (one note at a time). Then, listen to the groove.

(
lll'llF1¡l
ffi
mrf

c
t+¿+?l
tiñffl
fiTl-fl

Iisten again, and play along with the track. The major third (E) is the note that
gives the chord its "major," huppy, positive sound. Noiice that the l-measure
motive
is repeated exactly (see lesson 2).

What do you think the lyric story of this song will be about? What will be the
main
emotion? t
 Writing Exercises

W-W:."#f ::fl::'::H;;: jl'j#*fi ;üTi-::K::$§'ffi '"?i*':,:i,H[ffi :í.tr

unit I to generate your grooves. Transpose the chords, if you need to.

I Practice

Create a l-measure major-chord groove on a C major chord.

r Rewrite the Hits

Choose a major-chord groove from any song you know (or one listed in this lesson).
Create a new groove on that chord to transform it into an original song.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lpics, over a major-chord groove.

LESSON 3 Major Chord Color

 Hinor e*t*r
The second chord color is minor. For most people, minor reflects sad or introspective
feelings.

Hit songs that have grooves on a minor chord include "I'rrr a Man" [Cmin], "I'mJust
a Singer in a Rock and Roll Band" [Amin], "Let It Ride" [Fflmin], "saturday Night
Special" [Gmin], "Best Things in Life Are Free" [Ffimin], "Fire" [Dmin], "spanish
Castle Magic" [Cfimin], "You Give Love a Bad Name" [Cmin], and many others.

![inor chords have three notes: the root, minor third, and fifth. For example, the A
minor chord has these three notes:

Amin

)
f E Fifth
I Minor Third
tFl I Root
r\ LI

Liste n
I isten to the A minor chord strummed and then played as an arpeggio. Then listen
to üe groove.

Amin
riml
ffi
 Listen again, and play along with the track. The minor third (C) is the note that gives
the chord its "sad," somber sound. Notice that the motive is two measures long.

What do you think the lyric story of this song will be about? What will be the main
emotion?

Writing Exerc¡ses

W-W:ffi i:::¿:f::H:;:i['ilT;i'tr-l,K::$,:'ffi '"?t*ili,il*lffi :iH

unit I to generate your grooves. Transpose the chords, if you need to.

I Practice

Create a l-measure minor-chord groove on an A minor chord.

r Rewrite the Hits

Choose a minor-chord groove from any song you know (or one listed in this lesson).
Create a new groove on that chord to transform it into an original song.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, over a minor-chord groove.

TESSON 4 Minor Chord Color

Power e h*rd {*E*r
The third chord color is the power chord. For most people
it reflects feelings that are
strong, assertive, even aggressive. At a slow tempo, ii
can also sound .rryrt".Io.rr.
Hit songs that have on a power chord include ,,I Love Rock and Roll,,
'Bad Medicine" [E5],_grooves
,,Barracudat [Eb],
tnS], and many others.
Polver chords have two notes: the root and fifth. often,
the root is doubled, up an
octave.

For example, the E power chord (E5) has these two notes (shown
with the doubled
octave):

E5

Jf noot
 Listen
Listen to the E power chord strummed and then played as an arpeggio. Then listen
to the groove.

E5

ffi

E5

ffi

Listen again, and play along with the track. The unique sound of the power chord
comes from not haüng any third at all. Notice that the motive comes from combining
two different Z-measure figures.

What do you think the lyric story of the song will be about? What will be the main
emotion?

LESSON 5 Power Chord Color

 C'omplete at least one of these exercises. Play and practice it
along with one of the
drum tracks, or create your own rhythm groove. use any of the ,nrtnmic
tools from
¡mit J to generate your grooves. Transposá the chords,
iíyo, need to.

I Practice
Create a l-measure groove on an E5 power chord.

r Rewrite the Hits

Choose a power-chord groove from any song you know (or one listed
in this lesson).
Create a new groove on that chord to transform it into an original
song.

f Create Your Own Melody

Complete the "Practice" or ,,Rewrite the Hits" exercise above. Create
your own
melody on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, over a power-chord groove.
á **
b€W*§BE§B trh'*r
The fourth chord color is t}:,e seuenth chord. For most people, it reflects feelings that
are bluesy, funky, even sexy.

Hit songs that have grooves on a seventh chord include "The Beat Goes On" [C7],
"Dancin'in the Street" [E7], "Goin'to a Go-Go" [G7],"Day Tripper" [E7], "Proud
Mary" [G7], "Last Child" lEbT), "Taxman" [D7] , and many others.

Seventh chords have four notes: the root, maior third, fifth, and seventh.

For example, the G7 has these four notes:

G7
(x@
I-r-T-to
tot It
THH
 Listen to the G7 chord strummed and then played as an arpeggio. Then, listen to the
tfrx)ve.

G'

ffi

Listen again, and play along with the track. The bluesy sound of this chord comes
fiom the seventh that's added onto a major chord. Notice the groove is four varia-
tions on an original l-measure motive.

What do you think the llric story of the song will be about? \Arhat will be the main
emotion?
 Writing Exercises

W-W::#f ::¿:f::ffi ;:il:'ilT;:ffiL::-?.::$,:Tr'"?T#Hi,#rrffi :í.H

unit I to generate your grooves. Transpose the chords, if you need to.

I Practice

Create a l-measure seventh-chord groove on a G7 chord.

I Rewrite the Hits

Choose a seventh-chord groove from any song you know (or one listed in this lesson).
Create a new groove on that chord to transform it into an original song.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, over a seventh-chord groove.

LESSON 6 Seventh Chord Color

/fdding notes to your basic chords will give new and subtle colors to your grooves.
hu can also create a groove using two or more versions of the same basic chord
oolor by skillfully adding notes.
 :: jr.:-i,::!::::l:a- :.-t'i. r..,.:ittrttj, i-..:i::.:

Ve r§at§* rx s # {E?Grd €*lár*

The chord families in partA are general colors. You can vary z chord's basic color
subtly by adding or replacing notes. Varying chord colors like this can be used in all
four chord colors, in all styles of music.

Hit songs using 1-chord grooves with notes added include o'Fame" [Gg], "shining
Star" [E7(fi9)], and many others.

Listen
Listen to the Dmin chord followed by the DminT chord, as shown in the next
example. Notice that the DminT adds one note, the seventh, to the Dmin.

Added Note

Dmin DminT
tTTm
ffi ffi

Added Note

Listen again, and play along. Notice that the added seventh, C, gives a little different
color without changing the basic D minor color.

Next, listen to the A chord, followed by the Asus2 chord. Notice that the sus2 note,
B, replaces the third, C-sharp, but doesn't change the overall A major color.

Replaced Note

B replaces Cfl
 Here are some of the common ways that you can vary chords, by adding and changing
notes of the four basic chord colors. The basic chord color and its variations are
together called a chordfami$.

Basic Color Add Replace a Note

and Create:
Major 6,Maj7,Majg, add2 susZ, sus4
Minor 6, min7, min9, minl1, addZ minor sus4
Power sus2
Seventh 9, 13, or fi9 6, 7sus4, 11

I Practice
Practice these chords by alternating between the basic chord and each variation.

I-ic (hords Variations

c CMajT Cadd2 C sus4

Efú
ffi ffi ffi

Amin A min A min6 Amin(add2)

ffi ffi ffi

E5 E sus2

ffi ffi

A7 A 7sus4 413

ffi ffi
 to this groove, which is based on an 413 chord.

413

Groove ffi

413

Chorus ffi

no - thin' new_ bri - §-

bri - §- you_

Listen again, and play along. Notice how the bluesy emotion in the lpics is reflected
in the bluesy color of the A13 chord. Also notice the 2-measure rhythmic motive.

LESSON 7 Variations of Chord Colors

Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own rhythm groove. Use any of the rhythmic tools from
unit I to generate your grooves. Transpose the chords, if you need to.

I Practice

Choose a l-chord groove you created in part A of this unit, and change the chord
color by adding or replacing notes.

I Rewrite the Hits

Choose a l-chord groove from a song you know (or one listed in this lesson). Change
the chord color by adding or replacing notes.

r Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own
melody on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, by adding or replacing notes in a l-
chord groove.
§ ;*d.i& iitl.i]!::-i§.'iir j1:;ii:it.:::l!.:i::'l+i::::-:i:i

Va r§eÉ***r s

Aiternating between two variations of a chord color is another way to expand on a

1-chord groove.

Hit of a single chord color include "Get

songs alternating between two variations
Back" [A],"Cold as Ice" [Emin], "Drive" [B], most Chuck Berry songs, and many
others.

Notice the different versions of the chords achieved by adding or replacing notes in
the basic chord. Also notice how these variations help keep the l-chord groove inter-
esting.

In the sryle of "Get Back"

AA6

ffi

the style of "Drive"

B B MajT

ffi

In the style of 'oCold as Ice"

Emin

iHiT
ffi

In the style of "Sweet Emotion"

A Asus
ftd
ffi ffi
 Listen to this progression, which uses two versions of an A minor chord: Amin and
Amin(sus). Also, notice that this groove combines two rhythmic motives.

Amin Amin Amin(sus) Amin

ffi
IflHi ffi ffi ffi

Amin Amin(sus) Amin min(sus) Amin

tigí
ffi Hflfl ffi ffi

Dark - ness_ Com - in' to the edge of our town_

Amin Amin(sus) Amin min(sus) Amin

ffi ffi ffi

Dark - ness- Won - der - in' what's go - in' down_

Listen again, and play along with the recording. Notice how the A minor color
reflects the ominous quality of the l1ric.
 Writing Exercises

W-Wi"#ii:::rJf:::ffi
unit I
;:ii','ilTilii,:i-::T.::$$::X'"?113:ili,H[ffi
to generate your grooves. Transpose the chords, if you need to.
:iff
I Practice

Choose one of the l-chord grooves you created in part A of this unit. Create different
variations of the basic chord color. Create a groove by alternating different varia-
tions.

I Rewrite the Hits

Choose a l-chord groove from a song you know (or one listed in this lesson). Create
different variations of the basic chord color. Create a groove by alternating the
different variations.

I Create Your Own Melody

.Rewrite the Hits" exercise above. Create your own melody
Complete the "Practice" or
on top of this groove.

r Write a Song
Create a song section, with melody and lyrics, by using different versions of one chord
color.

LESSON 8 Alternating Variations

In,unit .II,,you learned how rto' create' groüves usin§ just one' chord
and its variations. Those grooves were actually ín a key In this unit,
you'Il learn about keys, and the scale and chords in a key. The
appendix charts all scales and chords for all key colors, in all trans-
positions.

B I BLI OTECA
rN§TITtlro Psff5?oout
 Keys

A kq is a set of notes that gravitates, or pulls, towards one note, called the tonic. The
tonic note gives the key its name and its center. For instance, C is the tonic of the key
of C major.

In this unit, will discuss the most common key colors used in popular music
we styles:
major, minor, Mixolydian, Dorian, and blues.

Most common keys have seven notes. For instance, the key of C major has these seven
notes (with a repeated octave, at the end): \

On each note, a basic chord can be built with the scale note as the chord root, and.
other scale notes superimposed on top of it, like this:

A key's basic chords are built by stacking alternate scale notes above the root, skipping
every other note. Using üis process, the seven notes in C major can be used to create
these basic chords:

C Dmin Emin F G Amin B" c

ffi ffi ffi ffi ffi ffi ffi ffi

llmin lllmin IV Vlmin MT

We can reference chords by using Roman numerals based on their scale positions.
For instance, in C -ajo., üe C chord is described as the "one" chord (I), D minor is
the "two" chord (II), and so on. When analyzirrg chords, Roman numerals are written
below the staff.
In unit II, you created song sections using just a single chord. Now, you'll begin
learning how to use the other chords in the key. Once you can do this in a major
scale, you'll be able to do it in the other common key colors. Latel you'll learn how
to use chords from outside the song's key.

\lost popular songs are in one of five hey colors. A key's color is like an expanded
color of the I chord. The key has the I chord's basic colo¡ but other dimensions of
that color are added to it, coming from additional notes and chords implied by the
basic chord.

There are two approaches to using these chords in songs:

f Progressions that cycle over and over (see units III to \T)

I Progressions that move away fiom and then back toward "home" (the tonic, or
"I chord;" see units \TI to IX)

Once you learn each of these approaches, you will be able to combine them-
asgreat songwriters do-to create songs that express a wide variety of emotions.

:.:.:.::¡,i1,Íil'l.:,i:,ll:.:j:..-:-i:'i
#Ee§*r K*g **§*r
Major is the most common key color. Major keys are like expanded and enriched
major chords (see lesson 3).In the ke¡ the tonic major chord is in a relationship
with other chords in that ke¡ and they all contribute to the key's overall color and
characteristics.

Hit songs in major keys include 'Just the Way You Are" [D], "Endless Love" [Bb ], "I
Want to Hold Your Hand" [G], "Help Me Make It through the Night" [C], "Gone
Country" [C], and many others.

Liste n

Diatonic Major
Major keys have seven notes and seven chords. Listen to the notes and chords of C
major:

Dmin F G Amin Bo C
_@-
IItrT} il Iltt rrrÍi
ffi t tall
Hflfl ffi ffi ta| tl
Hffi ffi

\{hen anote or a chord is in a key, it's said to be diatonic. Major keys include diatonic
major, minor, and diminished chords, as shown above. You can use all of these chord
colors to enrich the way you set the lyric story.

lmportant Diatonic Chords in Major

In major keys, three families of chords are most importanL the tonic, dominant, and
subdominant chords.

Tonic Chord (I).The I chord is the most important chord in any key-major or other-
wise. It's like being "home," where the listener has a "resolved" feeling. Returning to
the tonic is an important way to reflect a resolved feeling in your lyric. In C major,
the tonic chord is C.
 Dominant Chord (l). The V chord builds tension, and gives the key its srrongest unre-
solved feeling' This sense of tension or lack of resolution in your harmoñies helps
to reinforce those feelings in your lyrics. This tension is resolved, harmonicail¡ Ly
moving from the dominant to the tonic (V to I). In C major, the dominant chord is
G.

Subdominant Chord (IIl. The IV chord is more stable than the dominanr, but less
stable than the tonic. One common way to use the subdominant in grooves is to
add harmonic motion by alternating it with the tonic (I/N/I/\f/I). In C major, the
subdominant chord is F.

Using Diatonic Chords: Alternating with the Tonic

Alternating between the tonic chord and another diatonic chord is one of the
simplest and most effective §pes of chord progression. One common alternating-
chord progression is I to IV.

All of thefollowing hit songs are based, on the I to IV progression: "knagine,', *Baby I Need
Your Lovin'," "My Girl," "shakin' the Tree," "Tonight's the Night," *Sing a Song,,, ,,Kiss
You AII ove¡" "In Your Eyes," "You can't Always Get \,\rhat you wantj' "Baby you,re
a Rich Man," 'walk on," 'You sexy Thing," "Roll on Down the Highway," "Hey, Hey,
Hey," "The Way You Do the Things You Do," "ABC," "Kirg of pain,,' ,,Ain't Too proud
to Beg," "Satisfaction," "Tin Man," "Rain," "Gimme Some Lovin,,,, ,,Forever young,,,
"Sweet Emotion," and many others.

Listen to this "I IV" progression in C major.

CMaj FMajT
TILIU
ffi ffi

Listen again, and play along with the recording. Although this progression uses the
IV chord (FMaj7), it still sounds like it's in the key of C. The subdominanr acrs like a
subtle coloring of the C chord.

Notice that the major sevenths added to the chords give the song a wistful quality.
 Writing Exercises

W-Wi"#f ::f;::'::Tff ;:ii'iilT;:ffi'-lLv.::*:';:;'"?:il':ili,H[ffi

unit I to generate your grooves. Transpose the exercises to any major key.
:lH

I Practice

Create a major-key groove on the progression "I fV."

I Rewrite the Hits

Choose a major-key Z-chord progression from a song you know (or one mentioned in
this lesson). Create your own groove to transform it into something new.

r Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and ly,rics, using a 2-chord progression in a major
k.y.

LESSON 9 Major Key Color

 K*y **'§*r
Minor is the next most common key color, after major. Minor keys are like expanded
versions of minor chords, "colored" with some other chords.

Hit songs in a minor key include "Kirg of Pain" [Bmin],

"\Me Are the Cham-
.Ohio"
pions" [Cmin], "Walking on the Moon" [Dmin], [Amin], "\,Vhere Have All
the Cowboys Gone?" [F#min], "Wrapped around Your Finger" [Amin], and many
others.

Listen
Listen to the notes and chords of A minor:

Amin B" C Dmin Emin F G Amin E

ffiffi ffií
Htt
ffi
ffiH
ffi
[N# ffi ffi ffi

lmin ll" brtt rVmin vmin bu bul lmin *v

*Possibl,e substitution: V for Vmin

Some Roman numerals have a flat symbol ( b ) in front of the numeral. This clarifies

that the chord is in a minor ke¡ for instance, "flat 6" (bVI), "flat 7" (bVII;, etc.

The two most important chords in minor are the tonic and the dominant.

Tonic chord. The Imin chord is the most important chord in minor. Although it's also
"home," remember that the whole color of this chord, mino¡ permeates the entire
lyric. In the key of A minor, the tonic chord is A minor.

Dominant chords. The minor key has several dominant-rype chords that build tension.
The Vmin chord and the bMI chord are the two most common ones. In A minot the
dominant-Rpe chords are Emin, G, and E.
 Grooves built by alternating between two chords are common in minor keys, just as in
major. One of the most common such progressions is "Imin bVII" and its variations.

Listen to this A minor progression of "Imin(sus4) to b\r[I."

Amin(sus4) G sus4 Amin(sus4) G sus4 Amin(sus4) G sus4

ffiffi ffi EiH

rffrE ffiffi
Listen again, and play along with this example. Notice that even though it uses a G
major chord (Gsus4), the progression still has a minor feel to it. Also notice that the
added notes give the groove a little bit of a jazz feel.

Always try adding notes to thá basic chord colors. These will expand your harmonic
palette, and will help you to express more subtle emotional colors in your lrics.

Writing Exerc¡ses

W-W:ffi i:::¿::"::ffi ;:
jl"§,T;:ffi'-i:K::$rffi '"?ttÍ:ili,n'J[:tr;lH
unit I to generate your grooves. Transpose the exercises to any minor key.

I Practice
.Imin b\TI."
Create a minor-key groove on the progression

r Rewrite the Hits

Choose a minor-key 2-chord progression from a song you know (or one mentioned
in this lesson). Create your own groove to transform it into something new.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

r Write a Song
Create a song section, with melody and lyrics, using a 2-chord progression in a mrnor
k.y.

LESSON 10 Minor Key Color

 fu§§x*§gdBee= K*y ff*§*r
The Mixolydian color is especially common in rock and r&b styles. You can hear it as
an outgrowth of the seventh chord, "colored" with other chords.

Hit songs in Mixolydian include "Paperback Writer" IG Mixolydian], *Manic Depres-

sion" [A Mixolydian], "Fire" [D Mixolydian], "Reelin' in the Years" [A Mixolydian],
"Only You Know and I Know" [Eb Mixolydian], "Tears of a Clown" [Db Mixolydian],
"Don't Stop 'til You Get Enough" [B Mixolydian], "Norwegian \Mood" [E Mixolydian],
"saturday Night's Alright" [G Mixolydian and C Mixolydian], "My Generation"
[F Mixolydian], "Centerfold" [G Mixolydian], "Boogie Fever" [F Mixolydian], "Holly-
wood Nights" [E Mixolydian], and many others.

Listen
Listen to the notes and chords of G Mixolydian.

G Amin B" C Dmin Emin F G

go
lllLil

ffi ffi ffi ffi !H+Ei ffi ffi

Notice that G Mixolydian sounds like G major with one note changed: the seventh
note, F, is flatted. Compare G Mixolydian to G major (see the appendix), and you'll
notice that the F is sharp in G major and natural in C Mixolydian.

An easy way to think of Mixolydian is as a major hq with a /lat 7.

 lmportant Mixolydian Chords
The most important chords in Mixolydian are based on the tonic and flat 7.

Tbnic Chord. The I chord gives the main color to the Mixolydian key. In G Mixolydian,
the tonic chord is G.

Chord Using a Lowered Seuenth. Chords that have the lowered 7- usually the b\TI, less
often the Vmin-give Mixolydian its unique color. In G Mixolydian, the lowered /ls
F-natural, and the chords are F and Dmin.

Listen to this "I b\aII" progression in G Mixolydian.

G7 G7 Fadd2

m* m'o ffi

Listen again, and play along with this example. Notice that the F chord, when used in
a progression with the G7, emphasizes the Mixolydian sound.

Writing Exerc¡ses

W-W["#riil:¿:fi:ffi ;:il"ff ,"ffi:iltrJ:K::$*H'"?1tl:ili#[ffi :í.ff

unit I to generate your grooves. Transpose the exercises to any Mixolydian key.

I Practice

Create a Mixolydian key groove on the progression "I bVII."

r Rewrite the Hits

Choose a Mixolydian 2-chord progression from a song you know (or one mentioned
in this lesson). Create your own groove to transform it into something new.

r Create Your Own Melody

Complete the "Practice" or*Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, using a 2-chord progression ln a
Mixolydian key.

LESSON 11 Mixolydian Key Color

 Doriaaa á{eg ee§*n

The Dorian color is another common key used in rock and r&b styles. Like the
ke¡ you can hear Dorian as an outgrowth of the minor chord.

Hit songs in a Dorian key include "Evil ways" [A Dorian], "I wish" [Eh Dorian],
"Lowdown" [F Dorian], "Foxy Lady" fFfi Dorian], "owner of a Lonely Heart"
[ADorian], "Moondance" [ADorian], "BillieJearr" [F# Dorian], and manyothers.

Listen
Listen to the notes and chords in D Dorian:

Dmin Emin F G Amin B" C Dmin

Effi {ITIB
Effh ffi ffi LUI+I frm
H#N ffi ft# HTH ffi -a-9
ffi ffi

Notice that D Dorian sounds like D minor, with one note changed: the sixth, B, is
not flatted, in Dorian. Compare D Dorian to D Minor, and notice that B is flat in D
minor and natural in Dorian.

B-flat

An easy wcty to thinh of Dorian is as a minor hq with a raised, sixth.

 lmportant Chords
The most important chords in Dorian are the tonic and chords that include the
raised sixth.

Tbnic Chord. The Imin chord gives the main color to the Dorian key. In D Dorian, the
tonic chord is Dmin.

Chords Using a Raised Sixth. Us;aJly the IV major or IV7, and less often the Ilmin.
Chords that have the raised sixth-usually the fV major or lV7-give Dorian its special
color. In D Dorian, the raised sixth is B-natural, and the chords are G7 and Emin.

Listen to this "Imin W" chord progression used in "Lowdown," "I Wish," "Black
Water," "It's Too Late,"ooDance, Dance, Dance," and "I'm Alright." Here, it is set in E
Dorian.

EminT A7(13) EminT A7(13)

ffi ffi

Listen again, and play along with this example. Notice that the A7(13) chord brings
out the special color of E Dorian.

Writing Exerc¡ses

#"#i"#H:¿::::Tn;:*ffi l;,.*#mt::lff ,,:f, :,trH*:["?j;:"-

I unit to generate your grooves. Transpose the exercises to any Dorian key.

I Practice

Create a Dorian key groove on the progression "Imin fV" or "Imin fV7."

r Rewrite the Hits

Choose a Dorian 2-chord progression from a song you know (or one mentioned in
this lesson). Create your own groove to transform it into something new.

r Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, using a 2-chord progression in a Dorian
k"y.

LESSON 12 Dorian Key Color

 ffi§**s K*y ff*§*r
The blues key color is very common, and it has influenced all styles of popular music.
It mixes the major and minor key colors in a unique way. Blues is usually in major.
Like Mixolydian, you can hear it as an enriched version of the seventh chord, colored
with other chords.

Hit songs in a blues key include "Rock Me" [C blues],'Jumpin'Jack Flash" [Bb
blues], "FIigher Ground" [Eb blues], "Purple IFraze" [E blues], "I Can See for Miles"
[E blues], "After Midnight" [C blues], "She's a \Moman" [A blues], "Long Cool
Woman in a Black Dress" [E blues], "Pink Cadillac" [E blues], *Give Me One Reason"
[G blues], and many others.

The blues has African roots. Originally, it nu¿ no chords-just someone playing one
note in the bass and singing the different blues scales over that one note. After a
while, blues songwriters found that they could combine these notes together to form
blues-style chords.

The best way to think of blues harmony is to learn the most common blues chords
used in a major blues key.

Liste n
Listen to the notes and chords of the major and minor blues keys. The two blues key
colors are mixed together to create a rich group of chord colors. This mixture makes
the blues unique-different from the others you have learned.

C Major Blues

C Minor Blues

C7 Eb F7 G7 Bb C7
g
lt+t ÍTTI] {ttltt I llti ETru Itl

Chords:
all
¡t¡tt
ffi
t

ffi ffi +ffi H+¿#

rffi-¡
ti
sfN
I
 Notice that the C blues key sounds like C major with some other notes mixed in.
Blues chords are different from major key chords in a few ways:

1. Compare the C blues chords with the C major chords. The CMajT and FMajT
chords of major are now C7 and F7 in blues. The added seventh on each chord,
which is optional in all the other scales, is usually included in blues keys, giüng a
song a blues color.

2. Compare the C blues scale with the C minor scale. Notice that the bIII chord
and the bMI chord in the blues scale are actually chords from the minor scal¿ that
are mixed into the major bhtes.

You can use either of the blues scales melodically over blues chords.
*Drive
Listen to this A blues progression of "17 fV7," which was used on hits such as
My Car," "Back in the Saddle," 'Walk This Wa¡" "In the Midnight Hou¡" "Rock Me,"
"Ease on Down the Road," and many others.

A7 A 13 A7 413 D7 DTsus D7 A7 A13 A7 A13 D7 DTsus D7

ffiffiffiffi ffiffiffi ffiffiffiffi ffiffiffi

Listen again, and play along with this example. Notice that even though another
chord (D7) is added to the A7 groove, it still sounds like it's in the key of A blues.

IESSON 13 Blues Key Color

Writing Exercises
Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own r§thm groove. Use any of the rhythmic tools from
unit I to generate your grooves. Transpose the exercises to any blues key.

I Practice

Create a blues key groove on the progression "I7 lV7.'

r Rewrite the Hits

Choose a 2-chord blues progression from a song you know (or one mentioned in this
lesson). Create your own groove to transform it into something new.

I Create Your Own MelodY

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own
melody on top of this groove.

I Write a Song
Create a song section, with melody and lFics, using a 2-chord progression in a blues
k.y.
ff*§#s§ **€s§#* ɧ=*'K*H
Sometimes, you'll feel that a song needs harmonic colors beyond those found in the
diatonic chords. We will explore three ways to find chords outside the key that will
still sound like natural parts of your harmony.

Hit songs using chords outside the key include "I \Mas Made to Love Her" [F], "You
Are So Beautiful" [C], "Gimme Some Lovin"' [E], "Blackbird" [G], "Help Me Make
It through the Night" [C], 'You and I" [F], 'Johnny Can't Read" [Bh], "Eight Days a
Week" [D], "Piano Man" [C], "sexual Healing" [Eb], "Higher Ground" [Eb Dorian],
'You are the Sunshine of My Life" [C], "Evil \Mays" [A Dorian], "Roll on Down the
Highway" [C], "Reunited" [C], and many others.

There are three kinds of chárd elements that are commonly borrowed from outside
the key: the chord's t),pe, root, or secondary dominant. Let's look at each of these.

1. Borrowed Type
Borrowing a chord type from outside the key adds nondiatonic notes, which creates
different color. To use this tool, simply change the type of a diatonic chord.

Liste n
Listen to this C major progression. Here, the diatonicF majorT chord is changed to
F7, bringing in the dominant chord color instead. This F7 chord is borrowed from C
blues.

Amin F7 C

ffi ffi ffiffi-

Vlmin
 These are the most commonly substituted chord tlpes in the key of C major.

C Dmin Emin F G Amin BO

ffi ffi
Oprds in C:
ffi Hilfl ffi ffi ffi Hffi ffi
D E Fmin Gmin A
3-9
Orord spe changed:
ffi ffi ffi
lVmin
m'"
Vmin
ffi
VlMaj
llMaj lllMaj
t7
a tt tit
ffi
tv7

2. Borrowed Root

When you borrow a root, you use a chord based on a root that is not in the key'

Listen ro rhis G major progression. The bIII chord (Bh) is not in the key' It is
borrowed from G minor.

G C G Bmin

ffi ffi ffi

ffi LLLITU
ilaail

I lllminT IV llminT lllminT

G BminT c D7 G

ffi ffi ffi ffi

llminT lllminT
 Here are the most commonly borrowed roots in the key of C major.

c Dmin Emin F G BO

Diatonic
ffi ffi ffi
HTH ffi ffi
E+H ffi
Chords:
I llmin lllmin IV V MT

Eb Ah Bb
Chords with roots outside key:
ffi m*' ffi
bilt bvr bvil

3. Secondary Dominant Chords

A chord (or o'secondary V") is a borrowed chord that is a fifth

second,ary dominant
above another diatonic chord in the key.

Listen to this example of a C major groove, and notice how the borrowed D
major chord builds tension into the V chord, G. This secondary dominant chord (or
"secondary V") uses a major chord color outside the key. It is used to build tension
towards a chord that isn't the tonic.

C F G

ffi ffi
C Major
ffi ffi ffi

IV VA/ V

Some of the secondary dominant chords bring out certain emotions in the lpic:

s V/\f brings out a blues emotion.

I V/\r[min brings out a gospel or inspirational emotion.

LESSON 14 Colors Outside the Key

 These secondary dominants are commonly used with these chords in the key of C
major.

Dmin Emin F Amin

m'
ffi ffi ffi ffi

I
F llmin
F=r
lllmin
E IV
ffi
Vlmin

1 1 t 1 1
G7 A7 B7 C7 E7

3ffi ffi ffi ffi ffi

F V
EV/llmin
-H#t-t
V/lllmin
+f+
rt----------

v/tv
=F V/Vlmin
 Writing Exercises

W'W*"#f ::¿:f::ffi ;:il"#,T[iTi-."-?.::$,:ffi '"i1tr:ili,ilJlffi ,"í.H

unit I to generate your grooves.

I Practice

Create a groove on the progression "lY/\f fV fVmin."

r Rewrite the Hits

Choose a similar progression from a song you know (or one mentioned in this lesson)
that uses chords from outside the key. Create your own groove to transform it into
something new.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song section, with melody and lyrics, using chords outside the key.

-.:
LESSON 14 Colors Óutside the Key
In this part, you'll build a song by using a chord progression within a key. Then,
you'll learn how to use harmony to contrast sections.

Many of these progressions are so strong that you can create a whole song from them.
But adding a contrasting section to it will give you more opportunities for expression
and variety.

To create sections that go well together, start by creating a strong groove, using all the
tools discussed so far. Then, create a section that contrasts with it, making different
choices for each musical element.
L

* § p* € r§ *ffi
§

In thislesson, you'll learn how use repetition to create a song. It's one of the easiest
and most common tools in songwriting.

Hit Dorian], "I Want a New Drug" [A

songs using this tool include "Low Down" [F
Mixolydianl, "Don't Stop" [F Mixolydian], "Oye Como Va" [A Dorian], "I Wish" [Eb
Dorian], "Norwegian Wood" [E Mixolydian], "Imagine" [C], "You Sexy Thing" [Fl,
"Don't Stop" [Eb Mixolydian], "Feelin'Alright" [C Blues], "shakin' the Tree" [Eb],
"No \Moman No Cry" [C], and many others.

Notice how repetition of the following progressions creates a whole section or a

whole song.

"Feeling Alright"
C7 F7
{TtrT}
C Blues
ffi ffi
Verse:4 times
Chorus:4 times

'Walking on the Moon"

DminT(sus4) C7(9sus) C

| |+t
ffi

lminT(sus4) bVllT(9sus)

"Low Down"
Fmin9 ebr:
L
IilttL
H#
12 times
Listen
Listen to this example created from the "17 \17" blues progression, the same one
used in "Feelin' Alright," "Drive My Car," and "In the Midnight Hour." Here, it
is transposed to A blues. Notice how the blues key color captures the bluesy, sexy
emotion of the lpic.

A7 D7
H+H
H+H ffi

She slow ly ted down long bar-

A7 D7 A7
ffi"
ffi ffi rftiE
H+H

Red- dress flash - in' Talk - in' and the laugh - in' stopped,
D7 A7 D7
tu dff
llatat
ffi H+H

Heads and eyes are turn ev - ery man she's pass - in'
A7 D7 A7 D7

ffi ffi ffi

She grooves She moves
A7 D7 D7

ffi ffi ffi

She grooves And I can't get her out of

ot my mlnd-
mind-

Listen again and play and/or sing along. Notice the way both the verse and the
chorus are built by simply repeating the progression four times. Also notice the way
the melody contrasts in the verse and the chorus. For more on melodic tools for
contrast, see The Songtritn's Wmkshop: Melody.
 Writing Exercises

W-Wi"#i::rJfi:TI:;:il-T#*fi
unit I to generate your grooves.
;ffi'-::-?.::$rr}'"?r*':ilf, #*[ffi :f,ff

I Practice

Choose any progression from this book, and create a song section (or a whole song)
by repeating it two, four, or eight times.

I Rewrite the Hits

Choose a chord progression from a song you know (or one mentioned in üis lesson).
Create a song section or whole song using simple repetition.

I Create Your Own Melody

Complete the l'Practice" or "Rewrite the Hits" exercise above. Create your own melody
on top of this groove.

I Write a Song
Create a song, with melody and lyrics, by using simple repetition of a chord
progression.

LESSON 15 Repetitién
 CereÉrmsÉEsE# §eeÉÉ*ms

You can also use different chord colors to create song sections that contrast.

Hit songs using this tool include "Sweet Emotion" [A], "Bang a Drum" lE], and "Walk
This Way" [C blues].

In the following example, notice how the 2-chord chorus contrasts with the 1-chord
verse by using á chord progression. The different chord rhythms help make each
section sound distinct.

:"
fv.-'J ffi
talllt
ITIfl

C F

ffi ffi
 Li sten
I

Listen to this Mixolydian song. Notice how the l-chord groove in the verse contrasts
with the chorus's chord progression, "I bVII." Then, listen again, and play and/or
sing along.

413

ffi

She's got a way to move- me

When l'm with her Just lÍke real fine wine-

A Gadd2 A

ffi ffi ffi

Oo Sweet A - man
A Gadd2 A Gadd2

ffi ffi ffi ffi

Sweet A - man

LESSON 16 Contrasting Sections

 Writing Exercises
Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own rhythm groove. Use any of the rhythmic tools from
unit I to generate your grooves.

I Practice

Create two contrasting sections using a l-chord groove in the verse and a chord
progression in the chorus.

I Rewrite the Hits

Choose a l-chord groove from a song you know (or one mentioned in this lesson).
Create a contrasting section using a different, original progression, or one from a
different song.

r Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own
melody on top of this groove.

I Write a Song
Create two contrasting sections with melody and lyrics. Use a l-chord groove in the
verse, and contrast it with a chord progression in the chorus.

i
,

:
Certain chnrd progressions have been used in countless songs.
There seems to be something powerful atlout these chord progres-
slons-5smething that makes them memorable. Memorizing these
*power progressions,"
varying them, and using them gives you an
easy source of ideas that have been tested and proven.

In this unit, you'll learn some of these power progressions. Each

key color has its own power progressions associated with it. The
progressions you learned in unit III are actually 2-chord power
progressions.

After you learn these power progressions, you'll use them to build
songs.
 In part A, you'll learn power progressions in each of the five key colors. Learning
these progressions will give you a huge amount of material from which to build your
songs.

These progressions are described by Roman numerals, which stand for the scale
degree on which the chords are based. The progressions can be applied to any key.
To find actual chords, see the charts in the appendix, but familiarize yourself with
this Roman numeral shorthand so that you can find the chords without having to
refer to the charts.

The progressions are presented in their simplest, most essential forms. As you get to
know them, you should incorporate all the variations in grooves, notes, chords, and
so on that we have been discussing throughout this book.

Ire
t
 ür* rs# re§§
Following are the most common major-key power progressions and some hits songs
that use them. (Note: All progressions are presented in the key of C major.)

IIV
CF
"Endless Love" [Bb ], "I Want to Hold Your Hand" [G], "Help Me Make It through
the Night" [C], "Gone Country" [C1

IIVV
CFG
"Like a Rolling Stone" [C], "Twist and Shout" [F], "River of Dreams" [G], "I Love
Rock and Roll" lE], "Here Comes the Sun" [A], "Rock and Roll All Nite" [A],
"Tonight I Celebrate My Love" [Eb ], "Tracks of My Tears" [G]

I Vlmin Ilmin V
C Amin Dmin G

Common Variations

Iv v
C Amin F G

IIImin Vlmin Ilmin V

Emin Amin Dmin G

"Savin'AIl My Love for You" [A], "Earth Angel" [Eh], "This Boy" [D1,
"I'll Make Love to You" [D], "Please Mister Postman" [A], "If You
Really Love Me" [C], "superwoman" [Eb], "Breezin"' [D], o'In the
Still of the Night" [C]

I Ilmin IIImin IV
C Dmin Emin F

"Here There and Everyvrhere" [G], "Longer" [G],ool-ean on Me" [C]

I V/78 Ylmin I/5 ry Vg Ilmin V

C G/B Amin C/G F C/E Dmin G

"Piano Man" [C], "Mister Bojangles" [D], "Let It Be" [F], "I'll Be There" [F]

*Arabic numerals indicate the note in ihe key.

BIBLIOTECA
INSTIÍ I'TO PROFE§IOfl AL
PRO.' AZZ
 Li sten

Listen to this example, using each major-key power progression in turn.

C F G c F G

LLLIU -9!9- TILLtt

-9J
ffi ffi ffi ffi LLI:tll
HIH ffi

c Amin Dmin G C Amin G

--c!9-
rrilT1

ffi ffi ffi ffi ffi ffi

Vlmin llmin llmin

C Dmin Emin F Dmin Emin F

c-9i.9

ffi ffi ffi ffi ffi ffi ffi

Amin F C/E Dmin

mm
ffi ffi ffi ffi

LESSON 17 Major-Key Power Progressions

 Listen again, and play along with the track. Like the other progressions you have
learned, each of these power progressions can be used to build a song section or a
complete song. So, memorize these progressions, and play them in different keys.
They will lead you to many strong song ideas.

Now, listen to this example based on the "IIlmin IIImin fV" power progression in G.
Notice how the chords in this progression seem to climb up the scale.

Amin Bmin

I llmin lllmin IV

Amin Bmin c
ffi ffi
ffi ffi
I llmin lllmin IV

I
Listen again, and play along. Notice that this progression is played twice to make a
song section.
I
I

t
Writing Exerc¡ses

Y- w Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own rhythm groove. Use any of the rhythmic tools from
unit I to generate your grooves.
t
!

i
i
I Practice
r

!
Create a major-key groove using one of the power progressions in this lesson.
i

I
;

,
Rewrite the Hits
Choose a hit song that is based on one of these major-key power progressions. Create
.
your own groove using a similar power progression.
)

I Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create
your own melody to go with this progression.

I Write a Song
Create a song section, with melody and lyrics, using one of the progressions in this
lesson.
t"
I

:rlri!: ::: : : !: :!r-i-:r;::ijrr:..:.r-:.: :r.:a!;l:'i-r:::_i

ffiE*=sr-K*y *rtr*r Fr*gr*ss § á! §

These are the most common minor-key power progressions, with some of the songs
that are based upon them. (Note: All progressions are presented in the key of A
minor.)

Imin bVrr
Amin G

"King of Pain" [Bmin], "'We Are the Champions" [Cmin], "Walking on the Moon"
[Dmin], "Ohio" [Amin], "\Arhere Have All the Cowboys Gone?" fFflmin], "Wrapped
around Your Finger" [Amin]

Imin bvrr bvl bvrr

AminG F G

Common Variation

Imin bvu bvl v

AminG F E

'411Along the Watchtower" lAmin], "standin' in the Shadows of

Love" [Amin], "Remember [Walking in the Sand]" [Cmin], "HapPy
Together" [Amin], "Love Child" [Bhmin]

Imin Vmin
Amin Emin

"Things We Said Today" [Gmin], "\Arhere Have All the Cowboys Gone?" [Ffimin]

Imin lVmin
Amin Dmin

"I Shot the Sheriff' [Gmin], "Another One Bites the Dust" [Amin], "Boogie Wonder-
land" [Dmin]
 Liste n
Listen to this example, using each minor-key power progression in turn. Then listen
again, and play along with the track. Each progression cán be used to build a song
section or a complete song. Memorize them all, and practice them in different keys.

Amin Amin G

ffi ffi ffi

lmin bvil

Amin G F G Amin G F G

ffi ffH
¡Tfi¡i¡

ffi ffi ffi ffi

HIH ffi
lmin bvt bvr

Amin Emin Emin

ogo

ffi iuifi
H+H

lmin Vmin lmin

Amin Dmin Amin Dmir

ffi ffi ffi ffi

Now, listen to this power progression in E minor, and notice how the chords go down
and up the scale. This strong line makes the progression so easily identifiablJand
powerful.

T-isten again, and play along with the track. Notice that the progression is
played four
times to make a song section.

EminT D6 CMajT D6 EminT D6 C MajT D6

ffi ffi ffi ffi ffiffi ffi

HTH ffi
bVlmajT bvil6 hVlmajT
 Writing Exercises

W-W:ffi i:::ñ:fi::ffi ;:il'i#T;:il,:i-."K::$#ffi '"?l#Hi,H[ffi iff

unit I to generate your grooves.

I Practice

Create a minor-key groove using one of the power progressions in this lesson.

I Rewrite the Hits

Choose a hit song that is based on one of these minor-key power progressions. Create
your own groove using a similar power progression.

r Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create your
own melody to go with this progression.

I Write a Song
Create a song section, with melody and lyrics, using one of the progressions in this
lesson.

LESSON 18 Minor-(ey Power Progressions

ffi §x*§g#§* m:K*y F*w*r Pr*ga-*ssÉ**s
These are the most common Mixolydian-key power progressions, with some hit songs
that use them. (Note:All progressions are presented in the key of C Mixoloydian.)

I bvu
C Bb

"Papertrack \Mriter" [G Mixolydian], "Manic Depression" [A Mixolydian], "Fire" [D

Mixolydian] "Reelin' in the Years" [A Mixolydian], "only you Know and I Know" [Eb
Mixolydian], "Tears of a clown" [Dh Mixolydian], "Don't Stop 'til you Get Enough,,
[c Mixolydian], "Norwegian \Mood" [E Mixolydian], "saturday Night's Alrigit"
[G Mixolydian and c Mixolydian], "My Generation" [F Mixolydian], "centerfold"
[G Mixolydian], "Boogie Fever" [F Mixolydian], "Hollywood Nights" [E Mixolydian]

I bvrl ry
C Bh F

"shake Your Body Down to the Ground" [Eb Mixolydian], "I want a New Drug"
[A Mixolydian], "Ghostbusters" [B Mixolydian], "Boogie on Reggae woman"
-
[Ah Mixolydian], "Gloria" [E Mixolydian], "Lasr Time" [E Mixolydian]

Liste n
Listen to this power progression in E Mixolydian. Then listen again, and play
along with the track. Notice that the whole section is based on repeating the same
progression four times. In many Mixolydian songs, the whole tune uses only this
progression. Memorize it, and practice it in different keys.

E D E D A
||l
ffi ffi ffi ffi ffi

E D A E D A
tu mm" lltill d
ffi HH ffi ffi ffi ffi
 Writing Exercises
jl'ff ,";;;:i,;'-::T"::$s'::I'"11t3:ffi,ilJi:ffi :f.H
W-Wrtri:::¿:f::ffi
I
;:
unit to generate your grooves.

I Practice

Create a Mixolydian-key groove using one of the power progressions in this lesson.

r Rewrite the Hits

Choose a hit song that is based on one of these Mixolydian-key power progressions.
Create your own groove using a similar power progression.

I Create Your Own Mélody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create your
own melody to go with this progression.

t Write a Song
Create a song section, with melody and lyrics, using one of the progressions in this
lesson.

LESSON 19 Mixolydian-Key Power Progressions

 '.:'¡;+r1il:::rili.!l=r:'+'t:::+=t:§.¡¡rr'].::+

**ri§re-f{ey F*w*r rrsgre§§EGfr§ FI

These are the most common Dorian-key power progressions, and some hit songs
that
use them. (Note: AII progressions are presented in the key of D Dorian.)

Imin ry
Dmin G

"Evil ways" [A Dorian], "I wish" [Eb Dorian], "Lowd.own" *Foxy

[F Dorian], Lady,,
fFfi Dorian], "owner of a Lonely Heart" [A Dorian], "Moondance,, [A Dorian],
"BillieJean" [Ffi Dorian]

Imin Ilmin bur IImin

Dmin Emin F Emin

"BillieJean" fFfi Dorian], "Moondance,, [A Dorian]

L iste n
Listen to this example trased on a power progression in A Dorian. Then listen again,
and play along with the track. Notice that the whole section is based on repeatiñg the
same progression four times. In many Dorian songs, a section, or somedmés a
whole
song, often uses only this progression. Memorize it, and practice it in different keys.

Bmin Bmin Amin Bmin Bmln

ffi ffi for" rrrm rrrm
LLLITU
ItaatI LLLIU
ItaatI ffi ffi ffi

Amin Bmin C Bmin Amin Bmin C

ffi' rrm
ffi ffi ffi ffi
il+il t
ffi LrtILLl
| |at
lraall
LLLIU

ffi
 Writing Exercises

w-w:ffi f ::fjf::H;;:iHffi ;:ffi'J,"-T:*.'.'ilÍ'"?l*',:ili,ffi

unit I to generate your grooves.
lffi :lH

r Practice

Create a Dorian-key groove using one of the power progressions in this lesson.

I Rewrite the Hits

Choose a hit song that is based on one of these Dorian-key power progressions. Create
your own groove using a similar power progression.

r Create Your Own MelodY

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create your
own melody to go with this progression.

I Write a Song
Create a song section, with melody and lyrics, using one of the progressions in this
lesson.

LESSON 20 Dorian-Key Power Progressions

 : f i:i ::.: :!ii:i-r,:-:;::

#'§w*s*KeF F*wer Fr*g§*§s§*sBs

The blues key color h¿s three power progressions, including the ,,r7 fv7,, progression
discussed in lesson 13. of the other two, one is a simple repetitive p.ogi"srürr, urrd
one is a long, 1Z-measure progression. (Note: All progressions are presented in the
key of C blues.)

Repetitive Progress¡ons
17 \r7
C7 F7

t7 brrr rv
CTEbF
"Higher Ground" [Eb], "PurpleHaze" [E], "I Can See for Miles,, .,Born
[E], to Be
wild" lcl

Listen
Listen to this "I bIII rv" power progression. Then listen again, and play along.
Notice that the whole section is based on repeating the same p.og.ir.ion folr times.
Practice it in many different keys.

E7(#e) G E7(ile G A
#ii ntrr'r Íi+n rd
ffi ffi ffi ril|l
ElH ffi

tt(ilg) G A E7(fre) G A
dr nr¡i ?il# trfo
ffi ffi ffi ffi# ffi u+ll
ffi
 12-Bas Blues

The most common blues progression is called the "12-bar blues." It is twelve measures
long, with üe chords in this order.

17 rv7 17 v7 D{7 17 (v7)

C7 F7 C7 G7 F7 C7 (G7)

'Johnny B. Goode" [A], "Can't Buy Me Love" [C], "Pink Cadillac" [E], "She's a
Woman" [A], "Dancin' in the Dark" [C], "Still Haven't Found What I'm Looking
For" [D], "I Feel Good" [D], "sunshine of Your Love" [D], "Birthday" [A], "Boys"
[E], "Day Tripper" [E], "You Can't Do That" [C], "Change the World" [F], "Gimme
One Reason" [G], "Life in the Fast Lane" [E], "Hey, Hey, Hey" [G], and many, many
others.

Listen to this 12-bar blues in A. Then listen again, and play along.

A7

ffi
HH

D7 A7

ffi ffi

tv7 t7

E7 D7 A7 E7

ffi ffi ffi ffi

Notice some unique things about this progression:

I lt's twelve measures long, in three phrases.

I Each phrase starts on a different chord.

I Each phrase has a different harmonic rhythm.

I The last phrase has a blues cadence: it comes "home" to the tonic chord.

The 12-bar blues is one of your most important resources. Learn it in all keys, and try
adding notes to the chords (see unit II). The blues form can be adapted to any style.

LESSON 21 Blues-Key Power Progressions

 Writing Exercises
f "W{r#f ::¿:f:::#:;:il'#,T;[',:i-,"K::$,:T]'"?r*'Hi,#J[ffi :iH
unit I to generate your grooves.

I Practice
Create a blues groove using one of the power progressions in this lesson. If you use
one of the shorter progressions, repeat it to create a song section. If you use the 12-
bar blues, once through is enough.

I Rewrite the Hits

Choose a hit song that is based on one of these blues power progressions. Create
your own groove using a similar power progression.

I Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create
your own melody to go with this progression.

r Write a Song
Create a song section, with melody and lyrics, using one of the progressions in this
lesson.
In unit III, you learned how to build song sections by repeating a chord progresslon.
Now, we'll learn some to build song sections using two power progressions. Then,
we'll develop two contrasting sections, using two different power progressions.

Though we are using the power progressions to demonstrate these procedures, you
can use them on any chord progressions.
 l::tri :1,::!i::l¡:.:='. 1.]...':i'i l:':i"ii:iir::i"l

*** §*<ɧ*m, §aw* ffir*g yess§* §B s

In addition to simple repetition, you can build a song section by combining two
power progressions. There are a variety of ways to do this.

Hit songs that combine tvvo power progressions within a section include "Night Shift"
[G], 'Wind Beneath My Wings" [G], "Lady Madonna" [A] , and many others.

You can use the two progressions in many ways. Here are two ways: in pairs, and alter-
nating. (In these diagrams, P1 stands for the first power progression, andP2 for the
second.)

l. Pairs: Pl + Pl +P2 +P2

PI PI

F G F

illltt 5rrr5¡
llrln
ffi ffi HtH

P2 P2

2. Alternating: Pl +PZ + Pl + P2
P1 P2

C Amin F G Amin G
ffi ffi
ffi ffi ffi ffi I|till
HNX
Iil|t
E+H

PI PZ

C F G

ffi ffi ffi

H+ffi
 Li sten

Listen to this example, which illustrates alternating progressions P1 and P2. Notice
that togethe¡ the two power progressions make a longe¡ 4measure progression.
Then, this 4measure progression is repeated to make an B-measure chorus.

P2

G Emin c D D

ffi ffi ffi ffi ffi

Mine, Ours, That's how the fu - ture will be.-

PI

G Emin c D C D

ffi
ffi ffi ffi ffi ffi
H+H
EiE
l+tH

Mine, Ours, you and

Listen again, and play along with the recording. Notice how the song goes to the V
chord (D) a little later in bars 4 arrd B, and how the major-key color brings out the
positive ly, ic emotion.

This section is a chorus. The title is usually set differently than the rest of the lines.
How is the melody of the title 'Yours, Mine, Ours" different than the other phrases?

LESSON 22 One Section,Two Progressions

Erus* §e<€E*sEss §ae* ffir*gr*ss§#ffi§
Using contrasting progressions is a great way to contrast two sections, such as a verse
and chorus.

Hit with contrasting progressions between sections include 'Wind Beneath My

songs
Wings" [G], "Like a Rolling Stone" [C], "Can't Buy Me Loveo' [C], and many others.

Listen
Listen to this example, which uses two different blues power progressions. The verse
is a variation of the 72-bar blues, while the chorus uses the progression "I bIII IV."

don't care- that you're the kind of girl who can't hold a de-cent con-ver - sa-tion
A7 E 7(fle)
hi¡n
ffi ffi

And ldon't care if you do all of the wrong things in ev-erysit-u And I don't

B7 A7 B7 A7
-gJj

ffi IEfií
HTH ffi ffi

care what you wear Your walkyourtalkyourclothesev-en the col-or of your hair be-cause I

E 7(üe) G5 A5 E7fie) Gs A5
og
m3fr m'* tu
I-HTN
tH+t ffi ffi HIH ffi

Want You You

E7$e) G5 A5 Et$s) B7([e)

m'* ffi
IT¡TI]
tatall
ffi HtH ffi H+H

cra-zi-est e-ver
 Listen again, and then play along with the track. Notice that the sections
contrast by
using:

I different progressions

I different chords

I different progression lengths

How is the melody different in the verse and chorus? Notice the way the blues
key
color reflects the lpic.

i Writing Exerc¡ses

Y-Wi"#rf
i unit I
::¿:f::::ff ;:il'ff 'fi ;[',:i-::?.:T.:':ff :?*#:il*H[ffi :i.H
to generate your grooves.

I Practice
Create two contrasting sections using two different power progressions. Use
any
progressions you have learned so far.

r Rewrite the Hits

Choose two different power progressions from any songs you know (or ones
mentioned in this unit)-preferably, progressions of different lengths. Create
two
contrasting sections out of these progressions.

I Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercise above. Then
create
your own melody to go over these progressions.

I Write a Song
Create two contrasting sections, with melody and lyrics, over two different chord
progressions of different lengths.
which ean lead you to an infinite number of harmonic ideas for
your songs. We will explore two types of variation: rhythm and
pitch.

Once you learn these tools, you will be able to generate many
different variations of the same progression, whether it be a power
progression or any other chord progression you wish to use as the
basis for something new.
We begin by studying how rhythm can be used to vary chord progressions. Each
lesson shows how some great songs were created using rhythm variations of common
power progressions.

We will explore three §pes of rhythm variations:

§ changing tt,.e length of the progression

§ changing the rhythm of one or more of the chords

E changing the order of the cl¡ords

LJsing these rhythm tools and the various tools from earlier units, you will be able to
create countless songs out of a single chord progression.
 Fr*gr#§s§*re L**#€fu
You can change the length of a chord progression to create anything from a Z-beat
progression to a complete B-measure section.

Hit songs that are all rhythm variations of a "I \|[min Ilmin V" progression include
"superwoman" [Ab], "Breezin'" [D], "In the Still of the Night,,[C],,,l,liracle,,[G],
"I'll Make Love to You" [D], "up on the Roof' [G], 'we're in This Love Together"
[Bb ], "Please Mister Postman" [A], "Mercy, Mercy Me" [E], and many others.

Listen
Listen to these different versions of the "I fV" progression. As used in the tune
"Imagine" and so many others, there are four beats on each chord, in a Z-measure
harmonic phrase.

Original

2-Bar Phrase

C F C F

Hifl ffi ffi ffi

There are several ways to change the length of a progression. Consider the major-key
progression "I IV." Notice how all these songs vary the length of the original.

Variation I
You can play it at a faster rhlthm, or "shrink it" to rwo beats on each chord, a 1-measure
harmonic phrase, and you get "In the Midnight Hour."

1 -Bar Phrase

c F F

ffi ffi ffi

[flt
 Variation 2

Play it at an even faster rhythm-one beat on each chord, half-measure phrase-and

you get "Hey, Hey, Hey" and 'The Way You Do the Things You Do."

Half-Bar Phrase

ffiffiffiffi ffii ffiffiffi

Variation 3

Playit at a slower rhythm, or "stretch i¡ 6s¡"-¡14ro measures on each chord, 4measure

phrase-and you'll get "Shini,ng Star."
4-Bar Phrase

mr¡-l
Hfl#

Listen
Listen to this example based on the Dorian progression "Imin7 [V7." The
progression is stretched out to four measures.

AminT D7
-9go
H++fl
H+H ffi

lminT tv7
AminT D7

ffi

Listen again, and play along with the recording. Notice that the rhythmic phrase,
combining two motives, is also four measures long.

';
LESSON 24 Progression Length
 Writing Exercises
f "Wi"#if ::¿:f ::Tff ;:il'iil*ililffi'-::.,?.:T,:ffi '"iliÍHf, JJlffi :f .H
unit I to generate your grooves.

I Practice

create a groove by changing the length of the "Imin7 IV7" progression or any
progression of your choice.

r Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Change the length of the original progression to transform it into your original
song.

I Create Your Own Melody

Transform any progression you know by changing its length, and then create your
own melody over it.

I Write a Song
Complete the "Create Your Own Melody" exercise above, and add lyrics.
fftu*rd ffituy€turc

Changing the rhythm ofjust part of the progressi6¡-ons or more of the chords-
is another source of possible variations.

Hit songs that vary the rhythm of only part of a common progression include "Kirg
of Pain" [D], "Ain'tToo Proud to Beg" [C], "River of Dreams" [G], "I Love Rock
and Roll" [E], "Here Comes the Sun" [A], "Rock and Roll All Nite" [A], "Tonight I
Celebrate My Love" [Eb ], "Tracks of My Tears" [G] , "Endless Love" [Bb ] , and many
others.

Listen
In the preüous lesson, we changed the rhythm by changing the entire progression,
uniformly. Now, we are only changing the rhythm of part of the progression. To use
this tool, play one or more of the chords for a different number of beats.

Listen to this common setting of the power progression "I fVV."

Original

D G A D G A
rfrm riln'
ffi ffi I t+iit
H-1+l ffi ffi ffi

Listen to each of these variations, and notice how the rhythm of only part of the
progression was changed to create something used in different songs.

Variation I
o'I
"River of Dreams," Love Rock and Roll," "Here Comes the Sun," "Rock and Roll
All Nite"

D G A
Énr'
ffi I
ffi ffi

I IV

D G A
ffi rrrm
ffi ffi H#
Variation 2
"Tonight I Celebrate My Love," "I Love Rock and Roll"

D G A D G A

ffi ffi ffi ffi ffi ffi

H+H

Variation 3
"Tracks of My Tears"

D G A D G

ffi ffi ffi ffi ffi

Listen to this common l-measure setting of the Mixolydian power progression

"I bVII [V."

E D A D A
rÍm" dm"
ffi I taaaI

ffi ffi ffi

bvil

Then, listen to this example, which stretches out the I chord,

E D E D A

ffi' dtr
HXX ffi ffi ffi ffi ffi
bVII V V
'VII
Listen again, and play along with the recording. Notice that the progression is now
two measures long.
 Writing Exerc¡ses
jl."'ilT;['tr-l,K::$,:'il]'.?ltl:ili,HLffi :Lff
W-W::#i:::¿:T::H;;:
unit I to your generate grooves.

I Practice

Create a groove by changing the rhythm of any of the chords in the "I IV V" or
"I bVII V" progression or any progression of your choice.

r Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Change the rhythm of any of its chords to create your own groove.

I Create Your Own Melody

Transform any progression you know by changing the rhythm of any of its chords,
and then create your own melody over it.

I Write a Song
Complete the "Create Your Own Melody" exercise above, and add lyrics.

LESSON 25 Chord RhYthm

 e hárd *rdár
Changing the order of chords can transform a common progression into something
new.

Hit songs based on changing the chord order of a common progression include
"Exhale" [C],'You're in MyHeart" [B], "AlreadyGone" [C], "Helpless" [D],*Sweet
Home Alabama" [D], "The Wind Cries Mary" [F], and many others.

Listen
Listen to these different versions of the common "I fV V" progression. Here's how it
was used in such tunes as "Like a Rolling Stone."

Original
C F

ffi ffi
I

Variation 1

Play it backwards and you get the progression used in tunes such as .sweet Home
Alabama" and "The Wind Cries Marv."

G F

trlttt
ll tall
Efri+ Ht+"ll

Variation 2

Mix it up differently, and get the variation used in "Already Gone" and "Helpless."

G F

ffi
E+H
ffi
Hffl
 Listen to this example based on the Mixolydian progression "I bVII fV." Notice how
the order of the chords "I rv bvII" is changed, along with the length and chord
rhythm of the original progression.

G5 Cadd2 Fadd2 G5 Cadd2

T¡Tra¡ lfr rrrf¡+:r. T¡Tr5a 3fr

m"' ffi ffi TTTTN

HiH ffi

Listen again, and play along with the recording.

Writing Exercises

#"Wiff i:::¿:f::ffi ;:ilH,E:iltr-."K::$,:ffi '"i',ir':ili,ilJlffi :í.H

unit I to generate your grooves.

f Practice

Create a groove by changing the chord order of a "I IV V" or "I fV b\{I" progression
or any progression ofyour choice.

r Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Change the order of chords to transform it into your original song.

I Create Your Own Melody

Transform any progression you know by changing the order, and then create your
own melody over it.

I Write a Song
Complete the "Create Your Own Melody" exercise above, and add lpics.

LESSON 26 Chord Order

In part B of this unit, you'll learn some ways to create two and three contrasting
sections using rhythm variations of chord progressions.

BIBLIOTECA
*u*J[oJsr#*o'.
 ':-,:..:-fi-i:E::::ar!:¡::lr;:,':iirii:,:r'rr:::l!:-1j:rE':;.i,;r!:i:i::r::':it::,i:'::!-J i::¡i r:1.

HhytÉrmie e*mtr*st: ?w* §*e t§s*ts *me Pr*gress§#{E

Creating two contrasting sections from two different rhythm variations of the same
chord progression is a great way get a lot of mileage out of the same progression.
Using the same progression helps the song sections to sound related, while varying
the rhythm adds enough contrast to keep the song sounding interesting.

Hit songs that create contrast by varying a progression's rhythm include "Satisfac-
tion" [El, "Shout" [C], "Ain't Too Proud to Beg" [G], "You Can't Hurry Love" [Bb ],
"China Grove" lE], and many others.

In the following songs, notice that the different sections are just rhythm variations of
the same progression

In the sryle of "Satisfaction"

[;;;.""l E

fv""I
ffi
I

In üe style of *Shout"

Vlmin
 In the style of '6Ain't Too Proud to Beg"
c F

ffi ffi

ffi

In the style of "China Grove"

E D A E

ffi ffi ffi ffi

D A

ffi ffi
 Li sten

Listen to this example. It uses two different rhythm variations of the "Imin fV7"
Dorian progression. Notice that using the same chords makes the sections sound
unified, but the contrasting variations make them sound distinct, keeping each new
section sounding fresh.

Amin

ffi

You lean

D7
g
LLLIU
ll tat+
H+H

feel like jump - in' out- then you beg me stay-

Amin
-9J
|ilu
L]]l|t
HTH

cling ther through the ups and the downs-

A5 Amin D7
I IILU
ÉHí
HTH ffi ffi

Hearts are bat - tered, heads spt n - níng round- It',s

A5 D7 A5 D7 A5 D7 A5 D7

fcr;;l t+#
-9-é.9
LLLL]-I

ffi riui ffi ffi ffi

H+H ffi ItaatI
HIH H+H HTH

ler Coa

D7 A5 D7 D7 A5

trÍE
H# ffiffi ffi ffi

ler Coa - ster Ride

Listen again, and play along with the recording. How is the melody different in the
verse and chorus?

LESSON 27 Rhythmic contrast:Two Sections from one Progression

i
I

I
I

I Writing Exerc¡ses

Y-W:ffi Iii:::¿:T::H:;:il'iil*fi ;:ffi'-i:T.::$,:T,;'"ir*':ili,H[ffi :iH

unit to generate your grooves.
I
t

i r Practice
I
I Create two contrasting sections using two different rhythm variations of the "I IV"
I nrogression or any progression of your choice.
I
¡

I r Rewrite the Hits

t
I Choose a progression from a song you know (or a song mentioned in this lesson).
Create two contrasting sections by using two rhythm variations of this progression.
I
¡

I r Create Your Own Melody

l
I Complete either the "Practice" or "Rewrite the Hits" exercise above. Then create
I lour own melody over these two sections.
3

i
i ¡ WriteaSong
t
I Complete the "Create Your Own Melody" exercise above, and add lyrics.
I
t
t
t
]
t
t
t
I

t
I

t
r
i
¡

I
?wCI **et¡cots, T#* PregreJiio*ts
You can create further contrast between sections by using contrasting chord progres-
sions in each one. Choosing progressions that begin on different chords creates even
more contrast, as does choosing progressions that have different chord rhythms-
both the length of the harmonic phrase, and the individual chord rhythms. You can
also choose progressions that are not common power progressions.

Hit songs that use contrasting progressions in each section include "Rock Me" [C],
"Bang a Drum" [E], and many others.

Listen
Listen to this tune that uses two contrasting progressions. Notice that the verse uses
the "l7 fV7" blues progression, and the chorus uses the "I bIII fV" blues progression,
though reordered as " bIII fV I." There are several ways that these two progressions
coritrast:

* They start on different chords.

B They are different lengths.

§ They contrast chord rhYthms.

All of these ways of contrasting help the audience to hear the difference in sections.
 E7 A7 E7 A7 A7 A7

ffi ffi ffi ffi ffiirí ffi

A tight - knit Soft sighs My mind is a mess
A7 E7 E7 A7 E7 A7

ffiffi ffi
ddd
Llrtlu
HTH
ddd
¡ tatat

ffi

Per-fume the mood. Dri

G5

vin' Me Dri- vin' Me

- G5 A5
¡rrfa¡rt
ffi ffi

vin' Me Dri- vin' Me And it's dri-vin'me cra

-

Listen again, and play along with the recording. The sections also contrast by using
power chords in the chorus, as opposed to seventh chords in the verse. How is the
melody different in the verse and chorus?
 Writing Exercises

W-Wr#f :TJTi:ffi ;:ii'ff ,"ffi iltr-,1,.r,::$,:'ffi '"?l*1ili,#1i.ffi :i'ff

unit I to generate your grooves.

The rhythm variations you develop should start on different chords, be of different
lengths, and use different chord r§thms.

I Practice

Create two contrasting sections using rhythm variations of two different chord
progressions.

I Rewrite the Hits

Choose two progressions from songs you know (or a song mentioned in this lesson).
Create two contrasting sections based on these progressions.

I Create Your Own MelodY

Complete the "Practice" or "Rewrite the HitS" exercises above, and add your own
melody to them.

r Write a Song
Complete the "Create Your Own Melody" exercise above, and add your own lyrics.

LESSON 28 Two Sections,Two Progressions

 Many songs use the same progression in the verse and chorus. Often, the prechorus
(song section leading to the chorus) is written last and inserted between the harmon-
ically similar verse and chorus. You can use the rhythmic tools you learned so far to
contrast, and build excitement, in the prechorus.

Hit songs with a contrasring prechorus include "How Will I Know" [Gb ], "BillieJean"
[Ffi Dorian], and many others.

Listen
.,i"1H.
á..rcil Listen to this example. Both the verse and chorus use "I fVV." The prechorus
W changes the order of "Ilmin IIImin fVV" to "W IIImin Ilmin V." Starting the
prechorus on a different chord adds further contrast with the verse and chorus.

C add2 F add2 G sus4 Cadd2 Fadd2 G sus4

ffiiE
Hflfr
flH
HiH EJ+H ffi riffi
riiÍrl
tH+u
FI-I-FH

She's the kind of girl who's out laugh-in' dan-cin' pran-c

Cadd2 Fadd2 G sus4

mi¡ ffir
H+l# Hffi
rffrñ TTTTN +ffi

Love You" while she stares in your eyes._

G 7sus4
F Emin Dmin G 7sus4 |-e-
|aa
'ffi'
ffiffi
TTTTN
L i.g- attttt
TILLIJ tttfn
ll tall
HflT ffi ,I

But she Can't wait to split this one - horse town.- She's

C5 F5 G5 F5 G5
ffi3fr
ffiffi ¡Tfm
m"' ffi m"'
One for the Road Two's too much-

C5 F5 G5 C5 F5 G5
fch.r*l ¡ HIHrtr. ffi
I
r
|++|
LLLLI-.j Trrrn
r¡¡TT1
m"' m"' ffi m"'
for the Road- She says she'll ne - ver
 Listen again, and play along with the recording. Notice that the chorus varies the
verse groove by using power chords and by subtly changing the r§thmic feel. In addi-
tion, the progressions start on different chords, and the chord rhythms are different.
How is the melody different in the verse and chorus?

Writing Exerc¡ses

ry"Wi"#i::?J:'::ffi ;:il'ff "T;ñ'tr-."r.::*:'ffi '"?l',1:ili,#i:ff ,:lH

I unit to generate your grooves.

Build excitement in the prechorus by using a shorter phrase length and/or changing
chords faster.

I Practice

Create a verse/prechorus/chárus song with two chord progressions: one in the verse
and chorus, aná the other in the prechorus. Use the "I fVV" and "Ilmin IIImin fVV"
progressions or any progressions ofyour choice.

r Rewrite the Hits

Create a verse and chorus using a chord progression from a hit song. Then create a
contrasting prechorus to lead from the verse to the chorus.

r Create Your Own MelodY

Complete the "Practice" or "Rewrite the Hits" exercise above. Create your own
melody.

I Write a Song
Complete the "Practice" or "Rewrite the Hits" exercises above. Create your own
melod¡ with lyrics, for each of the three different sections.

LESSON 29 A Contrasting Prechorus

or aRy,choid progression, is to change the:,actual chords in them.
Like the rhythm variations, modifyrng the pitches gives the benefits
of using the tried-and-true progression, while adding enough new
material to keep it sounding fresh. This unit explores some of the
ways to use pitch as a source of variations.
In part A, we will explore four ways of vary.g u progression by using pitch:

§ subtracting a chord from the original progression

§ adding a chord to the original progression

€ replacing a chord in the original progression

* adding a repetitive melodic idea, called a pedal, to the original progression

 .:-i-¡ir-n:.:rii ¡.i i :iti.1;:.!:;: ¡j".iir15..'i:i..

§ e,x fu€r* <É e fu*rds

You can subtract (omit) chords from a progression to create a new one with a
different character.

Hit songs created by subtracting a chord from a progression include "Angel" [A

Dorian], "GirlsJust Want to Have Fun" [Gh], "Some Like It Hot" [Emin], and rrrany
others.

Here is a common Dorian progression, "Imin Ilmin bIII Ilmin," which was used in
tunes such as "Moondance," "BillieJean," and many others.

Original

Amin Bmin c Bmin

rrrm
ffi ffi ttL LLt
LLLLU
llail t

llmin

By subtracting the last chord, we get a new progression, used in tunes such as
"Angel."

Variation

Amin Bmin c
dd --9--9

ffi ffi
 Here is a common power Progressron, "Imin bvr bf,t b\TI," used in tunes such as "A11

Along the Watchtower."

Original
D C D
Emin

ffi ffi
H+H ffi ffi ffi

By subtracting the second chord (D), we get the progression used in tunes such as
"Some Like It Hot."

Variation

Emin c D

ffi ffi ffi

Li ste n

Listen to this example based on that same minor-key progression. Notice that in this
variation, ttre last chord is subtracted.

Emin D5 C5 Emin
o]go
D5 C5

ffi m* ffi ffi m*

Listen again, and play along with the recording. The power chords give it an edgier
sound.

LESSON 30 Subtract Chords

i Writing Exercises
Y-Wflffi f ::¿:f::ffi ;:i]'i#Tilffi'-.,r:$x,fi ]:?[l:ffi J*i:ffi :lH
unit I to generate your grooves.

I Practice

Create a groove by subtracting one of the chords from the "Imin Ilmin bIII Ilmin"
progression or from any progression ofyour choice.

I Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Subtract one of the chords from the original progression to transform it into some-
thing original.

I Create Your Own Melody

Transform any progression you know by subtracting one of the chords, and then
create your own melody to go with it.

I Write a Song
Create a song section, with melody and lyrics, on a chord progression that you've
varied by subtracting chords.
e*# efu*rds
Adding chords to a common progression can produce a lot of distinctive new verslons
of it.

Hit songs created by adding a new chord to a common progression include "Takin'
Care of Business" [C], "saturday Night's Alright" [G Mixolydian], "Centerfold"
[G Mixolydian], "spirits in the Material World" [Amin] , "Ca,n't Stand Losin' You"
[Dmin] ,,iLuy Dowrrsally" [A blues], "Old Time Rock and Roll" [Gb], "Every Breath
You Take" [G], "Stand By Me" [F], and many others'

You can add chords in one of two ways: adding original chords and adding chords
from outside the progression.'

Adding Original Chords

You can add chords that come from the progression itself, inserting them at new
places within the progression. Consider the common power progression "I fVV."

Original
F G

ffi ffi

Here are three variations of that progression. They were created by adding one of
the progression's original chords back into it, in a new place. Also listed are some hit
songs based on each variation.

Variation1.IMIV
"Hang On Sloopy," "Louie Louie," "Twist and Shout," "Walking on Sunshine"'
"La Bamba," "Get Off of My Cloud," "Piece of My Heart," '1Vild Thing"

C F G F
go
LLLIU ffi
ffi ffi ffi ffi
Variation2.IMI
"Only the Good Die Young, " "Luy Down Sally, " "old Time Rock and Roll"
c F G C
.é.
H+H ffi ffi ffi

Variation S. M V
"|ack and Diane"

C G F G

ffi ffi ffi ffi

Adding Outside Chords

You can also add chords that come from outside the progression-either in or out of
the progression's key. Again, we'll start with the power progression "I fVV."

Original

c F G

ffi ffi ffi

The following progressions were created by adding new chords to this common
progression. Some of the hits based on them are listed. Notice that these variations
also use different phrase lengths or other r§thm variations.

By adding IIImin, we get the progression used in "I Feel Fine."

Variation 4. I IIImin IV V

c Emin F G

ffi
HTH ffi
t

ffi
Llttt firm
ffi
 By adding Vlmin, we get the progression used in tunes such as "Hit Me with Your
Best Shot," "She Drives Me Crazy," "More Than a Feeling," "I'm Goin'Down," "So
Lonely," "Hurts So Good," and many others.

Variation 5. I IVVlminV
c F Amin G

ffi ffi
HtH ffi ffi

Li sten
Listen to this example, based'on variation 5 above. Notice that a chord outside the
key, [VII, is added to the end of the progression, adding a bluesy color, and making
the progression longer. Then listen again, and play along with the recording.

G C Emin D F

¡TTI5¡

ffi ffi ffi ffi ffi

Vlmin bvll

G C E min D F

ffi ffi ffi ffi ffi

LESSON 31 Add Chords

I Writing Exercises

Y-Wi"#fI
unit
::¿:T::H;;l*:x;;:ffi'-::-y.::$*xÍ'"?ffi ':ili,#[ffi :f,ff
to generate your grooves.

I Practice

Create a groove by adding an original chord or a new chord into the "I fVV" progres.
sion or any common progression of your choice.

r Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Add a new chord to this progression to transform it into something original.

I Create Your Own Melody

Transform any progression you know by adding one or more chords, and then create
your own melody to go with it.

I Write a Song
Create a song with melody and lyrics, on a chord progression that you've varied by
adding chords.
 ffi*p**€* fffu*rds
Replacing chord(s) in a progression can produce a fresh version of that progression.

Hit songs created by replacing a chord in a common progression include "Heartache

o'Dream-
Tonight" [G], "Fantasy" ICJ, "salisbury Hill" [D],'Just My Imagination" [G],
lover" [C], "Best of My Love" [C], "september" [A], "I'll Have to Say I Love You in
a Song" lA], "Let's Get It On" [Eb], "My Girl" [F], "I've Got Love on My Mind" lD],
"Hungry for You" [C], "Midnight Train to Georgia" [F], "Piano Man" [C], "Mister
Bojangles" [D], "\Arhen a Man Loves a \Moman" lD], "Hello, Goodbye" [C], "The
Closer I Get to You" [A], and many others.

Take a progression and simply substitute another chord you choose for one or more
of the original chords. You can substitute a chord in or out of the key.

Here is a common power progression: "I \llmin fVV."

Original

C F

ffi ffi

I
V

with some hits

By replacing a chord, we can create many variations. Here are a few,
that were based on them. Notice that many use additional rhythmic and pitch varia-
tion techniques as well.

Variation I
Replace Vlmin with IIIminT, which results in the chord progression used in "Let's
Get It On," "I've Got Love on My Mind," and "Midnight Train to Georgia."

C F G7
go
lll ttt ¡rrrt¡ ffi
ffi ffi $ffi
 Variation 2
Replace Vlmin with Ilmin, which results in the chord progression used in "My Girl,"
"Hungry for You," and "Love Is All Around."

c DminT G

ffi ffi ffi

Variation 3
Replace two chords: Vlmin and IV with IIIminT and IIminT, which is the progression
used in "I'll Have to Say I Love You in a Song."

CMajT c6 E minz Dminz G

ffi m"' ffi

lllmlnT
 Here is another common power progression: the descending "I V/7 Mmin Í/Ú N l/3
Ilmin V." (Note: All progressions are presented in the key of C major')

Original

c GIB Amin clG F c/E Dmin G

ffi ffi
HTH ffi ffi ffi ffi ffi ffi

These variations have yielded grooves in the styles of the listed hits, and many
others.

Variation I
"Piano Man"

C G/B Amin clG F c/E D G

ffi ffi
ffi ffi ffi ffi nrrñ ffi ffi ffi

Vlmin V5 IV V

c G/B Amin c/G F G c F c F

ffi ffi ffi ffi ffi ffi ffi ffi ffi ffi

Variation 2
"Mister Bojangles"

c C/B c/A cTlG F G

Hid
HTH ffi ffi ffi ffi ffi

LESSON 32 RePlace Chords

 Variation 3
'1Vhen a Man Loves a Woman"

c G/B Amin c7/G

ffi ffi ffi ffi

F G

ffi ffi

Variation 4
"Three Times aLady"

C Amin G/A

ffi ffi ffi

Variation 5
"Together Again"

c Emin/B A7 Dmin Dmin

ffiffi
G min/Bb G G
-9!.!-

ffi ffi ffi ffi ffi ffi

lllmin/7 YminlbT
 Variation 6
"Hello, Goodbye"

C C/B C/A C/G Ab c/B C/A C/G Bb

ffiffi ffiffi ffim*ffiffi ffiffi ffiffi ffi

Variation 7
"Can't Let Go"

c/B Bb FlA G/B

ffiffi
C
ffi"
Llrtlll
Ifl# ffi ffi
I
rrrn
taaaI

Listen
Listen to this example based on the variation of the Mixolydian progression "I b\iII
fV." The V major chord (V7sus4), from out of the key, replaces the IV chord and
brings in a brighter color.

Original

A G D A G D

tui ffi ffi

H+H ffi ffi ffi H+H

A G A G

ffi tu" ffi

ffi $ffi, ffi ffi

bvll W(sus4) V7(sus4)

Listen again, and play along with the recording. Notice that the phrase length of the
variation is two measures long, rather than just one.

LESSON 32 Replace Chords

il
i
$

t
I Writing Exercises
Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own rhythm groove. Use any of the r§thmic tools from
7-w unit I to generate your grooves.

I I Practice

t Create a groove by replacing a chord in any of the progressions from this lesson or
any progression ofyour choice.

I I Rewrite the Hits

t Choose a progression from a song you know (or a song mentioned in this lesson).
Replace one or more chords in the original progression to transform it into some-
thing original.

t
I Create Your Own Melody

t Transform any progression you know by replacing one or more chords, and then
create your own melody to go with it.
t

r Write a Song
t
Create a song with melody and lpics, on a chord progression that you've varied by
replacing chords.
t

t
t

i
t
 i:_
jirri !.:i ::-; ::i:: ,i

é&#tr & Feds§

F'*#&§

A pedat is a short, repeating melodic idea. It can be in either the bass or another
initrument. Adding á pedal is another way to create your own version of a chord
progression. Pedals can help make a progression sound more modern.

Hit songs using pedals include "I Still Haven't Found \Arhat I'm Looking For" [D],
,you aná I" ;Boogie On Reggae \Moman" [Ab Mixolydian], "I Can See for Miles"
[F],
,,BillieJean"
lEl, [Ffi Úorian], "Ónly You Know and I Know" [Eb Mixolydian], "Sweet
Emotion" iAl, "Up Where We Belong" [D], "Holllwood Nights" [E Mixolydian],
"Gimme Some Loün"' [E], and many others.

There are two ways to add pedals. You can add:

1. the tonic note

2. a short, repeating melodic idea (called an "ostinato")

Liste n
Listen to this progression and three variations. Notice the three different ways you
cat).vary any progression by adding a pedal. These pedal variations are based on the
power progression "I bIII IV" (A C D).

Original

D D sus4 D A D D sus4 D

rim riH
g
tu E+H riE
ll t{ta
H+H H+tr ffi r+Hi
HTH
I

HIH
l_Lt_Lt
H]+fi HTH

Variation 1
Add a single-note pedal (on the tonic note, A) in the bass.

A C/A D/A D sus4 IA D/A A C/A DIA DSUS4/A D/A

tr
tuí
ffiil ffi ffi ffi
HTH Hffi ffi ffi*ffi ffiffi
Variation 2
Add a melodic pedal part in the bass.

A c D Dsus4 D A c D D sus4 D
tu
ffi ffi ffi ffiffi ffi ffi tu HTH
LLLLII
H+t ffi

Variation 3
Add a melodic pedal part in another instrument, besides the bass.

A Dsus4 D D

ffi ffiffi ffiffi ffi

Listen again, and play along with the recording. Notice how each version sounds a
little different, and all make the progression sound a little more modern.
 Writing Exercises

w-wi"#ii:::¡JTflH;;:ii:'tril:i:,:i-ll-v.::$s'il;'"?l*':ili,ilJi.ffi $,H
unit I to generate your grooves.

Add pedals parts in each of the three ways described in this lesson:

1. Add a one-note bass pedal, using the tonic note.

2. Add a melodic bass Pedal.

3. Add a melodic pedal in another instrument, besides bass.

I Practice

create a groove by adding a pedal part into the "I bIII IV" progression or any progres-
sion of your choice.

r Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Create thrée variations of it by adding each of the three rypes of pedals. Which one
works best?

I Create Your Own MelodY

Transform any progression you know by adding pedals, and create your own melody
to go with it.

r Write a Song
Create a song, with melody and lyrics, on a chord progression that you've varied by
adding a pedal.

LESSON 33 Add a Pedal

The tools for pitch variations of progressions can all be used to create song sections
that fit together organically, as well as sound continually fresh and interesting.

In part B, you will learn some of the ways to use these tools to create song sections
that work well together.
 -ii-j=:::i1:!tl,'r;.¡¡.¡:;,:. -S'::..,:.r.--!,,¡:s:5T-1.:!!:,:r:.;l!i.ii:-:l::iÁ'i-,i:.:.:1!i+:¡i:li,:.:':g,ti_;-:.:¡:::.:i.:;i:..':r:-ii,:"';;:ij-¡:i '--:;:l
li .ltf{ii¡tl;,}lj,t'-+:,1i.:irli'iil ;.-:.,;'r¡¡,::¡:,n!

FíteÉt e*xÉrmsÉ: Yw* §*s*ás*rs fr*rm *r'*e Fretgr*§§§§át

by using
You can create two contrasting sections based on the same chord progression
different pitch variation techniques in each section. As with the tools for rhythmic
contrast, thi, .r"rt", a unity between the sections, while keeping each one
interesting
and distinct.

Hit songs that use pitch variations on progressions between two sections
include "She
Loves Yáu" [G], "Tracks of My Tears" [G], and many others'

In tunes such as "She Loves You," the different sections may include pitch variations
of the power progression "I Mmin IV V." Here, in both the verse and the chorus,
from
the IV cfror¿ is reptacea. The verse substitutes the IIImin chord, which comes
within the key. The chorus substitutes the fVmin chord, which comes from out.side
the key.

Original
Emin C D

tsiii EiH
H+]t ffii HTH

Varia tion I
B min D
G g
g
t-it-H
f+tr
ffi
Ilt|l ffi

Variation
C min D
G
ta! |a lrr

ffi
rFrf5t
+ffi ffi

Notice other important tools for contrasting sections:

* contrast chords inthle keywith chords outof the key

É contrast the progressions' lengths

* contrast the chords' rhythm (verse: 1 measure,/chord, chorus: 2 measures/chord)

I
t
t
: Listen
:

i
Listen to this next example, and notice the two versions of the "I7 fV7" blues
I
I progression. (Chords in bold type come from outside the key.)
I

Verse (original): 17IV7 (A7 D7)

Chorus: I blll rV bvr hvrr (A5 C5 D5 F5 c5)

A7 D7 A7 D7 A7

Ítm
ffi ffi ffi ffi ffi

You held my hand- You stroked my hair- You whis-pered the words-
E7 A5

ffi

- sweet and low in my ear_ Then I looked in your eyes_

C5 D5 F5 G5 A5

m*m ffi
HIH m"' ffi

Lies- v'ty day and ev - r'y way

C5 D5 F5 G5 A5

m*[iffi ffi m*ffi

v'ry day and e-ver-y

Listen again, and play along with the recording. Notice that the chorus has a different
phrase length. Also, notice the contrast gained by substituting a chord in the ke¡ for
the verse, and one out of the key in the chorus. How is the melody different in the
verse and chorus?

BIBL¡OTECA
I N §TITT¡TO PROFB§IOff AL
P ROJAEZ
 I
a

Writing Exercises {

W-W:ffi f ::iJf ::ffi ;:i|'itrT;:il,:i-'.;ry.::$.:ffi '"?i*':ilf,il,1i.ffi :í,H

unit I to generate your grooves.

Try combining the pitch variations with the rhythm variations you learned in unit IV.

I Practice

Create two contrasting sections using two different pitch variations of the same
progression. Replace, add, or subtract chords from any progression of your choice.

r Rewrite the Hits

Choose a progression from any song you know (or a song mentioned in this lesson).
Replace, ádd, o, subtract cliords from this progression to create two contrasting
sections, based on it.

I Create Your Own Melody

Complete the "Practice" or "Rewrite the Hits" exercise above. Then, create your own
melody to go with it.

r Write a Song
Complete the "Create Your Own Melody" exercise above, and add llrics.

LESSON 34 Pitch Contrast:Two Sections from One Progression

-i'::::ti- .it=lr.;;-r: i:.:a'-:::!::trl.ir:'.i'-.n; ¡::,::.,i1,:"-1

Y§e r** §*re€r*s€§* g §ee EÉ&E?§ Ér*am Fr*gr*ss§*re

You can also create three contrasting sections incorporating rhythmic and pitch
variations of the same progression. This can help you create a whole song from d,ifferent
uersions of the same chord progression.

Hitsongs with three contrasting sections, all based on the same progression, include
"Gimme Some Lovin"' [E], "How Will I Know" [Gb], and many others.

Some tunes use different variations of a power progression in each section. For
example, the tune "Gimme Some Lovin"'is based on a "I rv" power progression.

Originaf: I IV

E A
ffi tu
ffi ffi

It uses different variations of this progression in the verse, prechorus, and chorus.

Variation I
E A/E
Idl 'J¿-?

ffi ti**+l
H#

Variation 2

E G A
Cifr mr'
ffiffi
LtLt I
E+H
I

ffi

bill IV
 Variation 3
E AlE

ffi ffi

tv/1

Notice the other important tools used for contrasting these sections:

r A pedal (verse, chorus) vs. a standard bass part (prechorus).

I The length of the progressions (verse: 1 bar, prechorus: 4 bars, chorus: 2 bars).

I The shape or direction of the bass line. The bass pedal in the verse and chorus
contrasts with the ascending bass line in the prechorus.

Listen
Listen to the following examPle that uses üree different pitch variations of the
progression "I bIII bUI," used in tunes such as "Ohio" and "Cover Me."

-- i i--'
LESSON 35 Three contrast¡ng sections from one Progression
 Amin c/A GtA Amin c/A G/A

ffi ffi ffi ffi ffi

Amin c/A G/A Amin c/A G/A

ffi ffi ffi ffi ffi ffi

phone rings twice There's no-one there- l'm start-in' to ask- my - self why?-
Amin c/A G/A Amin ClA G/A
.gJJ

ffi ffi ffi ffi ffi

Late night calls you're a - lone in your room- The knot starts twist-in' in - side-
A5

Some - thin tell tn your lips-

c E

-9J
ffi ffi
Some - thin'rrn' was miss - in' from last night's kiss

A5 C5
G5 A5 A5 cs
- G5 A5
Eh.*¡ rITTn 3fr.

ffi
ffi m*m ffi _m* m*m
Al-ways the Last- to Know- Al-ways the Last- to Know-
A5 cs Gs A5 A5 C5 G5 A5

m* m'Iifiii
-Lo

ffi m*m*mí tIffiJ

Al -ways the first to sus - pect some - thin' but

but AI --ways
ways Last-
the Last- to Know

Listen again, and play along with the recording. Notice that the chorus melody is
based on the bass line. Singtng the title to the bass melody helps to emphasize title. (For
more on this technique, see The Songwriter's Workshop: Mel,ody.)
 Writing Exercises

W-W:ffi f :?J';::m;:*'ff ,E:ffi'-,m:*,:ffi T,T#:ili,Hi:ü:lH

unit I to generate your grooves. Try combining the pitch variations with the rhythm
variations you learned in unit IV.

I Practice

Create a verse, prechorus, and chorus using different pitch and/or rhyüm variations
of the same progression.

I Rewrite the Hits

Choose a progression from a song you know (or a song mentioned in this lesson).
Create a verse, prechorus, and chorus using different pitch and/or r\thm variations
of that progression.

I Create Your Own Melody

Complete either the "Practice" or "Rewrite the Hits" exercises above, and add a
melody to go with it.

I Write a Song
Complete the "Create Your Own Melody" exercise above, and add \rics.

-:. i
LESSON 35 Three Contrasting Sections from One Progression
So far, the approach we'ye taken is to begin the songwriting process

with the groove and the chord progression, which can be modi-
fied and customized as you develop the melody and lyrics. This is
the most common way that songwriters work, but there are other
approaches, too.

Now, we will approach the songwriting process in the opposite

way: beginning with the melody and lyrics, and then developing
harmony to support them.

In practice, youwill use a combination of these different approaches,

switching between them throughout the process. Being able to
work in either way will help you to overcome writer's block.
\Arhen working with an existing melodic or lrical idea, you will develop the song's
harmony by creating chords to color a word, or to color a melodic phrase. In this
way, you can create very specific expressive effects, at specific locations in your song.
 i:!ir-i:rr I.: "iilli-;1'-:,i-:¡ir:.:t-r. i,:1.:¡i::l-i::
T*
&r§rrr¡§ a sid
A chord's color can affect the meaning and impact of a lyric, especially when the
critical word comes at the end of a phrase. When a lyric's meaning is ambiguous, the
chord color will influence how that lyric is understood.

Hitsongs that use harmonies to color the specific meanings of lyrics include "Still
All These Years" [C], 'Just the Way You Are" [D], "The Sounds of Silence"
Crazy after
lAmin], "Nothing Compares to You" [F], and many others.

Listen
Listen to how the word "love" can have different meanings, depending on its
accompanying harmony. How does the meaning change, as the harmonizations move
through major chords, power chords, minor chords, and seventh chords? Notice that
the emotional color and meaning of the word change in spite of the fact that the melodry note is
always the same. These meanings might be described as:

§ Major: hopeful, positive

* Power: powerful, assertive

Minor: sad, introspective

Seventh: bluesy, sexy

Love Love

Amin D7
tu
ffi* ffi
 Even within each chord color, the same word can have subtly different meanings.
Listen to all the different emotional tones of the same word on all four chord colors.

Major Chord Color

C F G sus Bbsus2 CMajT FMajT lbtvta.¡z Bbsus2

ffi
itrrñ
ffi ffi m* ffi
ffi ffi ffi H+H

: Love

Power Chord Color

c5 F5 nbs G5 cs
rrrfr¡¿rr
ffi*.. m3fÍ.
m"' ffi ffi HtH
Iaatt
tttt¡

Minor Chord Color

Amin DminT Fmin Cmin

ffi
Hilil ffi ffi m"'

Seventh Chord Color

c7 t7 D7 G Tsus tbz Bb7(e) c

ffi ffi ffi m*

-9-
ffi ffi
ffi H+H

Listen again, andplay/sing along with the recording. Notice how the chords all subtly
affect thi meaning of the same word, even within the same chord color.

LESSON 36 Coloring a Word

Writing Exercises
Complete at least one of these exercises. Play and practice it along with "Heart (no
chords)," or create your own rhythm groove. Use any of the rhythmic tools from unit
I to generate your grooves.

f Practice

Sing the word "Heart" on the note C, against all the chords in this lesson (or any
other chords you know). Then choose one of these settings, and create a groove for
"Heart" based on it.

I Rewrite the Hits

Choose any song you know (or one mentioned in this lesson) that includes a word
that can have many meanings. Sing that word on the note C. Set it to as many chords
as you can, and see how they change its meaning.

I Create Your Own Melody

Choose any word that can have many meanings, and sing it on the note C. Set it to as
many chords as you can, and see how they change its meaning.

r Write a Song
Create a song section with a l;n'ic centered around one note. Change the emotional
meaning of that word by setting it against many different chord colors.
ff*á*r§ffi*'e th r* **
In the same way that a single chord can change the feeling of a single word, a progres-
sion of two or more chords can change the feeling of an entire lyric/melodic phrase.
This lesson will show you how to color a phrase by using different chord progres-
sions.

Hit songs that distinguish a phrase by using a chord progression include "Still Crazy
afterAll These Years" lC],'Just the WayYouAre" [D], "The Sound of Silence"
[Amin], "Nothing Compares to You" [F], and many others.

Liste n
Listen to the lyric phrase 'oI Learned a Lot about Love" (melody only, without any
harmony). In the key of C, it ends on the tonic note, C.

Original

Learned

Ending a melody on the tonic gives the phrase a "resolved" emotional feeling. In this
case, the singer is making a positive statement about the good things they've learned
about love. But as we discussed in the previous lesson, the chord you put under "love"
can change that.

Let's say that you want to write a song where "love" isn't necessarily happy and posi-
tive. You may want it to be longing, or ironic, or angry. One way to do this is by
changing the chords.

This lyric phrase has two essential notes in the melod¡ D and C. To recolor the
phrase, list the different chords that you might want to try under each. You might
create a chart with two columns, showing the different possible chord choices for
each note. There are different ways to organize this, but let's have one column for
measure 1, and one for measure 2.
 Which chord color works best for each part of the phrase? Try different chords, and
Practice the whole phrase together, as well as each part by itself. You can also try
using two chords in the same measure, to create a little motion (as in variations 3
and 4, coming up).

Measure Measure 2

G Tsus C add2 D7 c c7 G Tsus Fmin

ffi ffi ffi ffi ffi ffi ffi

G7 E7 Bh CMajT F Amin Ab

ffi ffi ffi ffi ffi ffi m'

DminT D5 Bhadd2 Cmin F5 DminT tbt
4f¡.

ffi ffi ffi ffi ffi m'

EminT ebBt tbt*a¡t cs F7 Dbma¡t Bbadd2

ffi ffi ffi m*m m* ffi

ehs

ffi

i
 Listen to some ways of reharmonizing this phrase. Again, notice how the emotional
color and meaning of the whole phrase changes in spite of the fact that the melody
note is always the same. Then listen again, and play along with the recording. After
each repetition of the phrase, stop the recording, and write down what you think the
"story" of the song will be about.

Variation 1 Variation 2
G Tsus C G Tsus Amin

ffi ffi

Learned Lot- a-bout Love, Learned a Lot- a- bout Love.

Variation 3 Variation 4

G Tsus Fmin Dmin C

ffi.l ffi
ffi Itt+t ll+H

Learned Lot- a-bout Love. Learned Lot- a-bout Love.

Variation 5 Variation

Dmin E7 Amin Bb Amin

EItr}
ffi ffi ll||
ItaaaI
ffrñ-I ffi

Learned a Lot- a-bout Love. Learned a Lot- a-bout Love.

Variation 7 Variat¡on
c
D7 G Tsus Bh G Tsus

Eh
HTH
ffi
E]H ffi ffi
rñ

Learned Lot- a-bout Love. Learned a Lot- a-bout

LESSON 37 Coloring a Phrase

Writing Exercises
Complete at least one of these exercises. Play and practice it along with "Melody
Phrase Only." Use any of the rhythmic tools from unit I to generate your grooves. Try
the exercise a number of times, and consider what the "story" of each solution might
be about.

I Practice

Create a Z-chord progression to accompany the "I learned a lot about love" lyric,
choosing one chord from column 1 and one chord from column 2 (see the chart,
earlier this lesson). You can even experiment, creating a 2-chord progression under
the first measure.

r Rewrite the Hits

Choose a simple phrase, preferably'using tlvo notes, from a song you know (or one
mentioned in this lesson). Harmonize each note with as many different chords as
you can. Then create as many harmonizations of that phrase as you can.

r Create Your Own Melody

Write a phrase of your own that centers around two notes. Find as many chords as
you can to harmonize each note. Then create as many harmonizations of that phrase
as you can.

I Write a Song
Create a chorus with a lyric and melodic phrase that repeats four times. Then rehar-
monize the melody to change the meaning of the chorus.
In this part, you will control the meaning of a whole lyric section by the chords you
choose.
'*ü§§'*i'fi Lyr§c Section

Trying different ways of harmonizing a song section can help you find the best way to
reflect a lyric's meaning.

Hit songs that color entire lyric sections through chord progressions include "Sound
of Silence" fAmin], "Still Crazy After All These Years" [C], "She's AJways a Woman to
Me" [Eb], 'You and I" [F], "Blowin' in the Wind" [D], "Barracuda" [E Blues], "Saün'
All My Love for You" [A], "It's Still Rock 'n' Roll to Me" [C], 'Just the Way You Are"
[D], and many others.

Listen
Listen to "I Learned a Lot about Love (no chords)." Notice how the ly'ics can be
interpreted in many different ways. The chords under each measure are some of
the many choices to color words and notes in that measure. Try playing and singing
different chords, focusing on the unique feelings that each setting brings out.
 Original

as a child Be - lieved love was on - ly

c AminT E7$e) G F F7 ebt Fmin

ffi ffi
rÍf1 i#ir
5rrr5¡

ffi ffi Htf ffi ffi Hflfl ffi

Emin c7 Eb Dmin Bb Bbmin D'

ffi ffi ffi

Hfd ffi ffi ffi ffi
G7 Gmin A7 G7 GminT obt

ffi ffi ffi ffi

?

you came my way- And I Learned a Lot- a- bout Love.

-
c F MajT E7 G7 Cadd2 D7 C Amin t7 Ab

rrfiSr"

ffi ffi ffiii Efiit ffi ffi ffiffi mm*

Emin A7 C7 Dmin E7 Bb C5 DminT Fmin tbt
tffi
ffi ffi' ffi ffi lt+lii ffi m*m ffi m*
Amin EminT D5 ebt F GTsus Bbadd2
jJ {IIIE dffE
ffi ffi ffi ffi ffiffi
bt'tr4t F5 c7 obvtajz

ffi
I I taaa
rffrH ffi ffi m*

LESSON 38 Coloring a Lyric Section

 Now, you'll hear two different reharmonizations of this tune. Listen to the first varia-
tion, and then pause the recording. What kind of story does it suggest to you?

Variation I
Cadd2 G/C FlC G TsuslC G7/C

ffii
ititfl ffi ffi ffi

Con tent as a child at play be - lieved love was on-ly a game

C C7 F MajT DTsus G Tsus Fsus2 Emin Dmin C

ffi ffi ffiffiffiffi

Then you came my way- I
iarned a Lot- a - bout Love.

Now, listen to the second harmonization. \AIhat kind of story does this one tell? How
does the harmony reflect a different emotion?

Variation 2

C C7 F7 F min

í11?tl' { Ltili
ffi ffi rFrS¡
HTH ffi
t

Con - tent as a child at play be lieved love was on - ly a game

C E7 Amin D min E7 Amin

rffi
ÍfiI]
ffi ffi u-H-t-l
Itltt ffi Iffi ffi

Then you my way_ And I Learned a Lot a-bout Love.

 Writing Exercises
Complete at least one of these exercises. Play and practice it along with "Melody
Phrase Only," or create your own rhythm groove. Use any of the r§thmic tools from
unit I to generate your grooves.

I Practice

Listen to the vocal track'Verse/Refrain (no chords)" (CD 56). What feeling do you
get from these lyrics?

Choose one chord from each measure of the examples in this lesson. Then use these
chords to harmonize the vocal track. Remember, you can use two chords in some
measures.

r Rewrite the Hits

Choose a simple melody from any song you know (or a song mentioned in this
lesson).

l. First, try replacing some of the original chords.

2. Then replace all the chords.

How many ways can you use chords to change the lyric's meaning?

r Create Your Own Melody

Create your own melody. Find as many chords as you can to color its various notes.
Then create as many versions of it as you can. Note the emotional feeling of each,
and decide which one best reflects the ll, ic's story.

I Write a Song
Create melodies and lyrics for two contrasting sections. Create as many chord
versions of each section as you can. Note the emotional feeling of each, and decide
which one best reflects the lyric's story.

LESSON 38 Coloring a LYric Section

In'harmo .the..¿onic'ehord'ean,be,'though+'of'as" "hlrnr*'i'I,tJ

resolved, and the song's harmonic tension is released. AIl other

o'away
chords are considered from home" and unresolved, espe-
cially when they are set at the end of lyric phrases and the end of
song sections.

In this unit, you will learn about some of the harmonic journeys
you can take, bringing the song home to the tonic, or to some of
the other places you can go.
The power progressions generally begin on the tonic (home) and end on another
chord (away). These progressions, and others, are called repetitiue progressions
because they tend to repeat over and over, throughout a section.

Another type of chord progression is called a through-composed progression' These

tend not to repeat, and will span an entire song section.

A third type of chord motion is ttre cadence-a cltord change between a "home" chord
and an "away" chord. Cadences are the strongest type of harmonic motion' In part A
of this unit, we explore the five most important cadences: four that "come home" in
differentways, and one that'jstays away."
 P*g'E ***á*'uáá
The full cadence is the strongest motion from "away" to "home." It begins on one of
the chords farthest removed from the tonic and then moves to the tonic (such as V
to I, in major). Because this is such a strong motion, full cadences are often chosen
as settings for the title.

Full cadences are common in all key colors except Dorian. We will look at full
cadences in each of the other key colors indiüdually.

1. Major-Key Full Cadences

Hit songs in major that set the title to a full cadence include "Fields of Gold" [D], "I
Want to Hold Your Hand" [G], "Everybody Plays the Fool" [Bb], "How Sweet It Is"
[G], "Time after Time" [C], "Tracks of My Tears" [G], "Heat \Mave" [D], "Blowin' in
the Wind" [D], 'Just the Way You Are" [D], "The Times They Are A-Changin'" [D],
"It's Still Rock and Roll to Me" [C], "IJust Called to Say I Love You" [Db], "straight
from the Heart" [A], and many others.

Listen
The simplest full cadence in major goes from V to I [G7 to C]. Listen to this example,
in which a simple 'y7 l" full cadence is followed by other common variations, either
adding or replacing chords in the original. Notice how they all sound resolved when
they end on the I chord.
Variation Variation
G7 C F G 7sus4 G7 C
-9!!-
[+|J
ffi ffi ffi ffiffi ffi

Shet the One- for

IV Y7sus4 v7

Variation Variation
A min G7 C DminT C

-9_
ffi ffi ffi ffi ffi

She's the One- for You.- She's the One- for You.-
Vlmin V7 I llminT V7 I

Listen again, and play along with the recording. Notice that the cadences are of
different lengths, and that they each reflect the resolved emotion of the title.
 When the lyric
Setting your titte to a full cadence is one of the strongest ways to emphasize if.
ends on the I chord, the cadence brings the point "home" to the audience. Remembet;
this witl be effectiae only if the lyric is about a resolued emotion.It can be used in any song
form.

2. Minor Full Cadences

Hit songs in minor that title to a full cadence include "Emotions" [Amin],
set the
"Rock and Roll Hoochie Koo" [Amin], "Easy Lover" [Fmin], "Russians" fCmin], and
many others.

The most common minor-key full cadence is bMI to Imin [G to Amin]. Occasionall¡
you will find V to Imin [E to Amin or Emin to Amin]. Listen to this example, in
which a "bVII Imin" full cadence is followed by other common variations. Notice
how they all sound resolved when they end on the Imin chord. This example is in A
minor.

If your song is in a minor key, you can set your title to artry of these full cadences. It
will give a very somber feel to the lyric.

Variation Variation
G F G
.....g
Eiiir
H+ffi ffi ffi

How long can this go on._ long can this- 9o on._

bvil7 - I hvt tvllT lmin

Variation Variation
E F E Amin

td
ffi ffi ffi ffi

long can this- go on.- How long can this- go on

V lmin tvr V lmin

LESSON 39 Full Cadences

 3. Blues Full Cadences
Hitsongs in blues keys that set the title to a full cadence include "I Feel Fine" [G],
"Respect" [C], "The Midnight Hour" [Eb], and many others.

The blues cadence comes from the last four measures of the 72-bar blues. Listen to
this example of the standard blues full cadence.

G7 t7 C7
ffi atataa

ffi ffi ffi

\v a
Too ma - ny yeaÍs,- Too Ma - ny Tears- for Me-
w tv7 17

4. Mixolydian Full Cadences

Hit songsin Mixolydian that set the title line to a full cadence include: "Help" [A1,
"Reelin' in the Years" [A].

The Mixolydian cadence goes from bMI to I. Listen to this example of a typical
Mixolydian cadence.

G Fadd2 G
ffi
ffi ffi ffi

Dan cin' All- Night Long-

bvil
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I Practice

Create a full cadence in several key colors

r Rewrite the Hits

Choose a progression from a song you know (or one mentioned in this lesson) that
sets the title over a full cadence. Then reset this title over a different full cadence.

I Create Your Own Melody

Choose an original title that describes a resolved emotion. Set it to a melody that
ends in a full cadence. Notice how the cadence affects your title's meaning.

r Write a Song
Create a title lyric that describes a definite, resolved emotion. Write a song section
that includes this title. Then set this section to music. When the title occurs, set it to
a full cadence.

LESSON 39 Full Cidences

 l!,J,.:i..s,!: :..:, l;r:':r.:a:Ia.r:. -::r..l::::;-'i:::'n',+1,:

ffi*§€ €*d#ffi<#s

The half cadence is a progression that ends "away" on the V chord (G7 in C majo¡
Emin in A minor). It doesn't come home at all. It is used to build tension. At the end
of a verse, a half cadence will help to set up the chorus (as we will see in part B of this
unit).

Hit songs that use half cadences include "Nothing Compares to You" [F], "She's
Gone" [Eb ], "How Am I Supposed to Live Without You?" [Bb ], "Reason to Believe"
[G], "Paint It Black" [Fmin], and many others.

Half cadences are usually used in major keys, and only occasionally in other keys.

Listen
Listen to this example, which has a chord progression that ends with a half cadence
to G, the V chord of C. Notice how ending on the V sounds unresolved.

C F G
---Lo
ffi ffi ffi
*l-l+l

sit where are you- nig ht?

I IV - V

Listen again, and play along with the recording. In addition to the unresolved V
chord, notice that the melody ends on a note (D) that isn't the tonic (C). This adds
to the unresolved feeling of the l1ric. Half cadences are an effective way to set your
title when the lyric is about an unresolved emotion, and you can use it in any song
form.
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I Practice
{
f,

Create a chord progression that ends in a half cadence (either major or minor). f

r Rewrite the Hits

Choose a progression from any song you know (or one mentioned in this lesson)
that sets the title line over a half cadence. Then reset this title over a different half
cadence.

I Create Your Own Melody

Choose an original title that describes an unresolved emotion. Set it to a melody that
ends in a half cadence. Avoid singing the tonic at the end of the title. Notice how the
cadence affects your title's meaning.

I Write a Song
Create a lpic that describes an indefinite, unresolved emotion, and contains the title.
Set it to music, and when the title occurs, set it to a half cadence.

fl
§

fl
f,
{

LESSON 40 Half Cuá"n.",

fl
f,
 #*c*páiwe'ea**m*es
The deceptiae cadence is a progression that comes to a point of resolution that is not
the tonic. This adds an element of surprise to the progression. It sounds resolved,
but much less than the full cadence. In this lesson you'll learn the effect of deceptive
cadences on the lyric. You'll use them to move from a verse to a chorus in part B.

Hit
songs that set the title to a deceptive cadence include: "Fields of Gold" [D], "Still
Crazy after All These Years" [C], "Every Breath You Take" [Eb ], "With or Without
You" [D], "New York State of Mind" [C], and many others.

Deceptive cadences are usually used in major, and occasionally, in minor keys.

The deceptive cadence is when the V chord resolves to a chord that isn't the I chord.
The most common deceptive cadence is when V goes to VI minor lG7 to A minor, in
cl.

Liste n
Listen to these examples of some common deceptive cadences. In order, they go
to the \4min (Amin), rv (F), and \r[ major (A) chords. Notice how each affects the
meanins of the lyric.

F G Amin
ffi
ffi ffi ffi

Ail the years- and all these fea rs Learned a Lot- a-bout Love
I IV - V Vlmin

DminT G F F G A
-9-
LLLITI
Lllrlll
HH ffi ffi ffi HiH ffi

Learned a Lot- a-bout Love a Lot- a-bout

Learned Love
llminT IV IVVVI
Listen again, and play along with the recording. How would you describe the different
meanings of the different lyric settings? Most listeners would describe the first as
sorrouful, the second as a positive surprise, and the third as a bright, huppy surprise.
Each says something different about what the songwriter learned about love.

Setting your title to the deceptive cadence is especially useful when the title's meaning
is emotionally ambiguous. You can use it in any song form.
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I Practice

Create a chord progression that ends in a deceptive cadence in any major key.

I Rewrite the Hits

Choose a progression from a song you know (or one mentioned in this lesson) that
sets the title line over a deceptive cadence. Then reset this title over a different decep-
tive cadence.

I Create Your Own Melody

Choose an original title. Set it to a melody three times, beginning each time on the
v chord and ending first on the \¡[ minor, then on the rv major, and then on the M
major chords. Notice the effect of each ending on the meaning of your title.

I Write a Song
Create a lyric that describes an indefinite, unresolved, emotion, and contains the title
line. set it to music, and when the title occurs, set it to a deceptive cadence.

LESSON 41 DeceptivC Cadences

 F§ege§ #ed*re€*§

The plagal (or "amen") cadence moves from IV to I, coming home in a subtler way
than the full cadence does. It is the usual setting for the lyric "amen" at the end of
hymns.

Hit songs using some version of the plagal cadence include "Tracks of My Tears" [G],
"Let It Be" [C], "Yesterday" [F], "Candle in the Wind" [A], "Eight Days a Week" [D],
"Strawberry Fields Forever" [A], 'A \A,rhiter Shade of Pale" [C], "Lean on Me" [C],
"The Way You Do Things You Do" [G], and many others.

Plagal cadences are most common in major keys.

Listen
Listen to these examples of some common plagal cadences. The first one is the
simplest it goes from IV to I. The others substitute other chords but have similar
effects. Notice how they all affect the meaning of the lyric.

F C

mÍE"
ffi ffi

My Knees-
I

DminT

ffi

Knees-
llminT I

F Dmin C

ffi ffi ffi

When I Fall on My Knees

lllmin llmin I

Listen again, and play along with the recording. How would you describe the mean-
ings of the lpics? Most listeners would describe them as having a religious or spiri-
tual emotion. This probably comes from the *amen" heritage. Setting a title across a
plagal cadence recalls this emotion. It can be used in any song form.

EIBLIOTEEA
,*u*#&mffffioNAL
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I Practice

Create a chord progression that ends in a plagal cadence in any major key.

I Rewrite the Hits

Choose a progression from a song you know (or one mentioned in this lesson) that
sets the title line over a plagal cadence. Then reset this title over a different plagal
cadence.

I Create Your Own Melody

Set an original title to a melody across a plagal cadence. Notice how the cadence
affects your title's meaning.

I Write a Song
Create a lyric that has an inspirational, spiritual, or religious theme, and contains the
title. Set it to music, and when the title occurs, set it to a plagal cadence.

..:|

LESSON 42 Plagal Cadences

::.=-ir:t;:lr-l;jl

fuE§x*d **#*sc*es
Mixed cadences use chords from keys of a different key color, but on the same torrc-
They often use minor-key chords in a major key.

Hit songs using a mixed cadence include "Brown Sugar" [C], "Lady Madonna" [A],
"I Can See for Miles" lEl , and many others.

Mixed cadences are most common in major keys.

Listen
Listen to these examples of some common mixed cadences. The first one is the
simplest: it uses the "b\rl bVII Imin" cadence from minor, but set in a major key.
The next one mixes the b\rII chord from a Mixolydian key with the regular 'V I" full
cadence. Notice how each affects the meaning of the lyric.

Mixed Cade nce I

C E E sus4 E C E sus4 E

rnft'r" ÍE¡ imir' i#É' rn¡T']

ffi ffi ffiffi ffi [ffiffi ffi

Now She's Got to Go- Now She's Got to Go-
bvr bur I bvr hut I

Mixed Cadence 2
B 7sus4 Dadd2 E E sus4 E E sus4
s.---gP "ffi imii tun"
ffi ffi ffi H+]ll ffi

Now Got-
V7sus4 hvll

7s us4 Dadd2 E E sus4 E E sus4

'ffi" rrrS¡

ffi ffi ffi ffi ffi ffi]

Now Got-
V7sus4 hvil

Listen again, and play along with the recording. How would you describe the mean-
ings of the lyrics? Most listeners describe them as having a mixture of the sad emotions
of minor and the more positive emotions of major.
 Setting your title across the chords of a mixed cadence is particularly useful in songs
that mix sad and huppy feelings, especially in rock- or blues-based songs. It works in
any song form.

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I Practice

Create a chord progression that ends in a mixed cadence, using minor cadence
chords in a major key.

r Rewrite the Hits

Choose a progression from a song you know (or one mentioned in this lesson) that
sets the title line over a mixed cadence. Then reset this title over a different mixed
cadence.

I Create Your Own Melody

Choose an original title, and set it to a melody across a mixed cadence. Notice how
the cadence affects your title's meaning'

r Write a Song
Create a lyric that mixes emotions or has a rock/blues feeling. Set it to music rn a
major key, and when the title occurs, set it to á mixed cadence.

LESSON 43 Mixed Cadences

Cadences are especially useful in connecting two song sections. Part B shows how to
use them in this way, strengthening the feelings of "home" and "away," and using that
to intensify the meaning of your lpics.
 :

V* rséi ffief rc Ésr :

A verse that contains the title is sometimes called a aerse/refrain. Cadences are
commonly used to emphasize the title line, in these song structures.

Hit songs using cadences in verse/refrain forms include "Blowin' in the Wind" [D],
"Signed, Sealed, Delivered" [F], "The Sound of Silence" [Amin], "Still Ctazy /ft,et
All These Years" [C], "She's Always a Woman to Me" [Eb ] , 'I Feel Fine" [F], 'Just the
Way You Are" [D], "It's Still Rock 'n' Roll to Me" [C], and many others.

A good example of a verse/refrain structure using a cadence is "Signed, Sealed, Deliv-

ered." It's simply a repetitive progression with a title set to a cadence.
P1 PI Cadence (Title)

F F Dmin Bb F

{TTItr
ffi ffi
ffiH
EITT}

ffi
{ITE}
ffi

Vlmin

Another way to hear this is that it starts home, on the tonic, then goes away for a
while, and finally returns home to the tonic, üa a cadence.

Home -> Awav --> Horne

 Listen
Listen to the next example, which uses the blues progression "Iz(fig) fVz,' and. the
mixed cadence "bVI V I" from minor to set the title. Notice how the cadence, using
new chords, helps the title to stand out.

E7$e) A7 B7$e E 7(fie) A7 B7$e

lTtm ddd
ffi ffi ffi ffi ffi ffi

A7 A7
PPI
ffi ffi

ler-a ted nights and bar

E 7(fie) A7 E7$e)

ffi ffi ffi

l've looked the oth way when you stare at what they wear, but

E7$e) A7 B 7(f,e)

Cadence rftfti
ffi Hflfl ffi

Now You've Got- Go-

Listen again, and play along with the recording. The melody also emphasizes the title
by using unique notes, ending on the tonic note, and ending on the downbeat.

I
I
i

t.
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I Practice

Create a song section by repeating a progression a number of times and adding a

cadence to the end. Use any progression in any key color.

I Rewrite the Hits

Choose a verse/refrain from any song you know (or one mentioned in this lesson).
First, replace the original ending cadence with one of your own creation. Then,
replace the beginning progression (s).

r Create Your Own Melody

Complete "Practice" above. Then create your own melody over this progression.
Emphasize your title by using some of the melodic tools described in this lesson.

I Write a Song
Complete "Create Your Own Melody" above, and add lyrics. After creating a verse/
refrain, create a contrasting bridge.

LESSON 44 Verse/Refrain: Home/Away/Home

 W*rs*: F€*se=*§&wep
In a verse, you can use cadences to build intensity andlead smoothly into a chorus.

Hitsongs that use verse cadences to lead into choruses include "The Wind Beneath
My Wings" [G], "Night Shift" [G], "Like a Rolling Srone" [C], and many others.

The verse to "The Wind Beneath My Wings" is a repeated progression that builds up
to the V chord, which is the most *away" chord in the key. This builds intensity, and
it's a great way to set up the coming chorus.

PI PI
G C D/C G C D/C

riiir
H1111 ffi ffi ffi ffi ffi

lv v/4 tv v/4

Build to V chord Build to V chord

Dmin(add2) 7sus4 Dmin(add2) G 7sus4
dtru
ffi ffií ffi

llmin(add2) V7sus4 llmin(add2)

Ending on V is another useful tool when building sections: start on the I chord, go
away for a while, and then end on the V chord. Another way to hear this is that it
starts home, on the tonic, then goes away:

Home --> Awav

 Listen
Listen to this verse. Notice its harmonic structure, and how the home/away feeling
directs the listener's attention to the chorus.

* "I \r[min" repeats

il "fV V" builds from the major scale coloq with the Ilmin and bMI chords added

I V ending leads nicely into a chorus

Cadd2 C Amin A sus4 Amin

ffi ffi ffi ffi ffi

say that you're rich - es to share

Cadd2 c Amin A sus4 Amin

ffi ffi ffi ffi ffi

shamed of all you clothes that wear_

Fadd2 F Dmin D sus4 Dmin

ffi ffi ffi ffi ffi

wait - ed for knight on whíte horse

Bb F Bb F

ffi
ü]m ffi
EItr}
|||
I taaaI
rrrm ffi

can't give you a cas - tle But ba - by l'll give you much

Listen again, and play along with the recording. By hanging on the V chord at the
end of the verse, the song builds even more intensity. This is one of the great ways to
build excitement in your song: Hang on the V chord.

LESSON 45 Verse: Héme/Away

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I Practice

Create a song section by repeating a progression a number of times. Build up to the

V chord to the end.

r Rewrite the Hits

Choose a verse/refrain from any song you know (or one mentioned in this lesson).
First, replace the original progression with one of your own creation. Then, replace
the build on the V chord with your own variation.

r Create Your Own Melody

Complete 'oPractice" above, and create your own melody over it.

r Write a Song
Complete "Create Your Own Melody" above, and add lyrics. After creating a verse,
create a contrasting chorus.
 ffiw§§#€reE e flfu#ffGs w§efu m #s#*res*
You can use cadences to emphasize a title within a variety of chorus t)?es.

Hit songs with cadences in the chorus include "The Wind Beneath My Wings" [G],
"Everybody Plays the Fool" [Bb], "Easy Lover" [Fmin], "How Sweet It Is" [G], "Rock
and Roll Hoochie Koo" [Amin], "Time After Time" [C], "Material Girl" [C], "I Can't
Stand Losin' You" [Cmin], and many others.

We have seen how to use cadences to emphasize titles in verse/refrain structures. You
can also use cadences to emphasize the title in a chorus.

Choruses can tre built by using a cadence for every line, or by using a cadence only to
set the title and another pro§ression to set non-title lines.

1. Just a Cadence
To create a chorus out of a cadence, simply repeat the cadence, and set all the lyric
lines across it. This can be for a variety of different chorus tlpes. After each chorus
below, the structure is shown, with the title line indicated by I and a non-title line
bv (-).

a. "flow Sweet It Is" (T T)

C MajT BminT AminT D7sus4 G

ffi ffiffi ffi ffi

lllmin llmin VTsus

CMajT

IV lllmin llmin Wsus

Title
 b. 'oEverybody Plays the Fool" (T - - T)

Eb F Bb Eb F Bb

ffi ffi ffi

ffffH
ITTTT]

ffi ffi ffi

IV IV

fide (-)

ú F Bh (D7) Eb F Bb
IIIIB |||
IilTTT

ffi ffi ffi H+ffi ffi ffi I taaat

rrrrn

IV v/vt rv v/vt
(-) Title

c. "Rock and Roll Hoochie Koo" (T - T -)

ffi

F G A min

ffi ffi ffi

bvr
(-)

F A min

ffi

bvr
Title

F G A min

EfEF} ffi
 ooCan
d. 't Stand Losin'You"
Bb

ffi

A sus4 Dmin Gmin Dmin

ffi m"' ffi

Verse Groove

2. Cadence on the Title Only

In many choruses, only the title is set to a cadence. The non-title lines (-) are set to
another progression. Notice that these chorus types, beginning on a non-title line,
ako auoid the tonic chord until the title. This also helps the title stand out.

Hit songs with just the title line in a chorus set to a cadence include:

a. "Wind Beneath MyWings" (- - - T)

E min C G DlFfr

ffi ffi
ffin
ffi ffi
H+H

vt7
Emin C G DlFfr C/8. D
ttr
ffi ffi ffi ffi ffi ffi
IV I v/7 tv/6 v
C G DlFfr D

ffi ffi ffi

IV

ffi

Title__ _.___ _-_-*--r

LESSON 46 Building a Chorus with a Cadence
 b. "Time After Time' (-T-T)
G Amin F G c

ffi ffi ffi ffi ffi

G Amin F G C

ffi ffi ffi ffi ffi

Listen
Listen to the next two chorus examples. The first chorus uses the 'Vlmin V I" major-
key cadence and the T T chorus type.

Just a Cadence

Amin G Tsus Cadd2 c Cadd2 c

ffi
H+H ffi ffi ffi ffi ffi

Queen.-

Amin 7sus4 Cadd2 c Cadd2 c

ffi ffi ffi ffi ffi ffi

 The second chorus uses a mixed plagal cadence "IV fVmin I" to set only the title line
in the chorus type - T - T.

Cadence on the Title

C Dmin Emin c7 F Fmin C 7sus4

ffi,
ffi H++fl ffi ffi ffi ffi ffi ffi

l'll be your king for e-ver tause You're My Queen-

Dmin Emin c7 F Fmin C G7sus4

ffi ffi ffi

trrr'¡
ffi ffiffi
Walk through the fu ture to - ge - ther tause You're My Queen-
Listen again, and play along with the recording. Notice that the title lines are also
emphasized by melodic tools, such as ending on the tonic note (C), long notes, and
a downbeat ending.

..:

LESSON 46 Building a Chorus with a Cadence

Writing Exercises
Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own r§thm groove. Use any of the rhlthmic tools from
unit I to generate your grooves. If you need lyrics, use the llrics used in this lesson.

Special Note: Crea,te your chorus for this lesson in the same kq as the uerse from lesson 45, in
preparation for lesson 48, "Connecting Sections with Cadences."

I Practice

l. Create a chorus by repeating a cadence (in any key color). Use any of the chorus
tlpes described above under 'Just a Cadence."

I Create a chorus tlpe - T - T. It should begin on the I chord and alternate a

cadence with another progression. Set the title to a cadence that reflects the
emotion of the title.

I Rewrite the Hits

Choose a chorus from any song you know (or one mentioned in this lesson). Set the
title to an original cadence, Set any non-title lines to a different progression.

r Create Your Own Melody

Complete "Practice" or "Rewrite the Hits" above. Then create your own melody over
this section. Emphasize your title by using some of the melodic tools described in this
lesson.

r Write a Song
Complete "Create Your Own Melody" above, and add lyrics. After creating a chorus,
create a contrasting verse.

;:
 *i* tüé§'#ttEü=H*§.ü?Ei;;§=F
Using this concept of "home and away" in bridges can help you build intensity. The
most harmonically intense bridges both start and end away from home.

Hit songs using "away/away" bridges include "Ticket to Ride" [A], "Help Me Make It
through the Night" [C], "Fire" [C], and many others.

A good example of an away/away bridge is "Ticket to Ride." Notice that it begins

awayfrom the I chord, on the fVchord, and then moves even further away, to the
V chord. This sets up a lot of tension, which eventually resolves in the next section.
Also notice that this bridge uses the [V7 blues chord in the major key. This adds addi-
tional harmonic tension.

D7 E D7 E

üd'
ffi ffi ffi trH

Frurñ',-l vz

You can also describe it like this:

Away -+ Away
 Listen
Listen to the next bridge. Notice that it uses the progression "Ilmin IIImin IV,"
though it is varied in two ways from the most common form:

1. Seventh chords are added to the original chord colors, giüng a bluesy effect.

2. The V chord is added to the end.

(Lead In) ffi

D7

@ffi
the ball Then we'll love 'til the morn - in' light
|7 lnt7

F7 G 7sus4 G7
ffi
ffi
il||
t+++11 ffi

And then we'll get up and

w
Listen again, and play along with the recording. Notice that the bridge builds even
more intensity by hanging on the V chord, at the end.

rtlr
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unit to

Special Note: Create your bridge for this lesson in the same hey as the uerse and chorus from
lessons 45 and 46, in preparation for lesson 48, "Connecting Sections with Cadences."

I Practice

Create a bridge by starting on any chord but the I chord. End on the V chord, and
hang onto it to build even more intensity.

I Rewrite the Hits

Choose a bridge from a song you know (or one mentioned in this lesson). First,
replace the original progression with one of your own creation. Then, end on the V
chord to build intensity.

I Create Your Own Melody

Complete "Practice" or the Hits" above. Then create your own melody for
this bridge.

I Write a Song
Complete "Create Your Own Melody" above, and add lyrics. After creating a bridge,
create a contrasting verse and chorus in the same key.

LESSON a7 Buildinó u AriOg", Away/Away

 §*.*{§tar#*' $E§tffit=#ü **t*§
You can also use cadences to connect sections. These connections can reinforce the
listeners' expectations or progress in a more surprising way.

There are two ways to connect the verse and chorus by using a cadence: via full
cadences or deceptive cadences.

Listen

Full Cadence

Listen to this verse/chorus, which is an example of a verse connecting to a chorus

by using a full cadence. Then listen again, and play along with the recording. The V
chord, at the end of the verse, goes where you expect it: to the I chord at the begin-
ning of the chorus. This is a common way to connect the verse with the chorus. The
verse ends on V, and the chorus begins on I.
 Cadd2 c Amin c

ffi ffi ffi ffi

You say that you're a pau-per with no ri -ches to share- shamed at all you are, down to the

min(sus4 Amin Fadd2 F Dmin(suE4 Dmin

dd ffi atttaa
Lltltt
HTH Hffi ffi Fffiffi
HtH ffi ffi

clothes
clotl' that You've wai-ted for a prince, or a knight on a white horse
Bb F Bh F G sus4 G

{IIII}
ffi ffi ffi ffi ffi ffi

can't grve yQu a cas - tle But ba-by l'll give you much
c Dmin Emin C7 F Fmin C G 7sus4

ffi ffi ffi ffi

tlllrtl
ffi ffi ffiffi
t'll be your king for - e-ver tause You're Queen-
C
Dmin Emin c7 F Fmin C G7sus4
J

ffi Hffi IIfEi ffi ffi ffi ffi HIffi

Walk through the fu ture to - ge-ther tause You're My Queen-

LESSON 48 Connecting Sections with Cadences

 Deceptive Cadence
Listen to this verse/chorus, where a deceptiue cadence connects the verse to the
chorus. Listen again, and play along with the recording. Here, the v chord at the
end of the verse moves deceptively to the \rlmin chord at the beginning of the
chorus. This is away to surprise your listeners: Begin the chorus with a chord other
than I.

Cadd2 min(sus4 Amin Cadd2 C

ffi ffi ffi ffi ffi

You say that you're a pau-per with no ri-ches to share_ A- shamed at all you are, down to the

Amin(sus4) Amin Fadd2 F Dmin(sus4) Dmin

ffi ffi ffi

ffii Hft ffi
clothes
clotl' that you wear_ You've wai-ted for a prince, or a knight on a white horse

Bb F Bb F G sus4 G
trITD
H ffi ffi ffi ffi ffi
can't give you a cas - tle But ba-by l'll give you much more 'Cause

Amin G 7sus4 Cadd2 c Cadd2 c

f¿il¡ tiffií
ffi
rfftn fiiiH ffi ffi llall
HflT
t

You're Queen-
Amin G Tsus Cadd2 C Cadd2 C

ffi ffi ffiffi ffiffi

Queen-
 Listen to this verse/chorus/bridge. What kinds of cadences are used?

C add2 c Amin Cadd2 C

ffi ffi ffi ffi ffi

You say that you're a pau-per with no ri-ches to share- A- shamed at all you are, down to the

Amin Dmin(sus4) Dmin

ffiffi
Amin(sus4) Fadd2 F

ffi ffi ffi ffi

clothes that you You've wai-ted for a prince, or a knight on a

G sus4
Bb F
,Bb F G

{IIIE
ffi ffi ffi ffi ffi ffi

can't give you a cas - tle But ba-by l'll give you much more

Amin G 7sus4 C Cadd2 C

_
lc¡o'r'l
rrTTSl

ffi ffi ffi ffiffi

You're Queen-
Amin G 7sus4 Cadd2 C Cadd2

-9J
ffi ffi H+H
HTH ffi ffi

Queen-
D7 E7
"tr
@^ffi lrtllll
HTH

We can dance at the ball all night Then we'll love 'til the mor
t7 G Tsus G7

ffi ffi ffi

And then we'll get up do it all ov-er

LESSON 48 Connecting Sections with Cadences

Listen again, and play along with the recording. Notice how smoothly all the sections
connect:

1. The verse builds intensity and connects to the chorus by using the V chord.

2. The V chord moves deceptively to the Vlmin chord at the chorus beginning.

3. The bridge also builds intensity; it will connect to the next chorus by using the V
chord as well.

Also notice some ways the sections contrast:

1. Each section begins on a different chord.

2. Each section has a new chord (or more than one new chord).

3. A full cadence appears only in the chorus.

4. Each section has a different phraEe length'

How is each section contrasted melodically? \AIhat are the emotional high points of
the song? How are these high points brought out harmonically? Melodically?

Writing Exerc¡ses

I All Levels
Combine the verse you created in lesson 45 with each chorus you created in 46.
Notice the effect of the different choruses following the same verse. Choose the one
that works best. You've created a verse/chorus song!

Try each verse,/chorus combination with the bridge you created in lesson 47. Choose
the best combination, and you've created a verse/chorus song with a bridge!

Play and practice it along with one of the drum tracks, or create your own rhythm
groove. Use any of the rhythmic tools from unit I to generate your grooves.
Maid,uia;ti;*vtix modul ion
an'extension of the 'homelaway :idea.' A
takes your song far away from the tonic chord. In fact, it takes it
far away from the tonic kE, into a whole new key It is like moving
home from one place to another. In this unit, you'll learn some
common types of modulation to a new key. This is a great way to
surprise your listeners, keep your songs sounding fresh, and create

the impression of arriúng at a new place.

There are three common ways of changing keys. In this part, you'll learn the most
common target keys used for modulation, and some easy ways to get to those keys.
 ffie r* É*§-K*H fu§*# * §e€§*m
§

A paralleLkey modulation is one that changes the key colo¡ but maintains the same
tonic note. This is the simplest form of modulation, but it can be very effective, espe-
cially for reflecting significant new directions in the lyric story.

Hit songs using parallel-keymodulations include "I'll Be Back" [Amin toA], "I'm
Alright" [D Mixolydian to D Dorian], "Foxy Lady" [Ffi Dorian to Ffi blues], "Here,
There, and Everyvhere" [Gmin to G], "\,Vhile My Guitar Gently \Meeps" [Amin to A],
and many others.

Parallel kqs are different key colors based on the same tonic note. The following pairs
are parallel keys:

@ A major and A minor

ffi F Mixolydian and F minor

§ D Dorian and D major

To create a parallel modulation, follow a chord progression in the first key with a
new progression in a parallel key of a different color.

Listen

# Listen to this progression. Notice that the G Mixolydian progression modulates to G

Dorian.

Mixolydian
G G
g
TFTTN
E]tH EiH

G Dorian
Gmin Bb Amin Gmin Amin Bb Amin
LO
Itl llt
ffi ffi
aItaalTr
ffi
t-t-H-l
H++fl
ffi ffi
ffit-ñ ffi*

Listen again, and play along with the recording. Notice that the new key color has a
very different emotional tone than the first one. This harmonic change should reJlect a
change in the $ric story.
 Writing Exercises

W-W::#i:::fJT::ffi ;:il"#,'ffi:iltr-::-?.::$,:'fi l'"?[l:ili,ilJ1ffi :iH

unit I to generate your grooves.

I Practice

Create an original variation on a chord progression in any key color. Follow it with
another progression in a different key color on the same tonic note.

I Rewrite the Hits

Choose a progression from any song you know (or one mentioned in this lesson).
Follow it with a progression from a song in a different key colo¡ but based on the same
ton'ic.

I Create Your Own Melody

Complete either "Practice" or "Rewrite the Hits." Then compose a melody that spans
both key color regions. Reflect the different emotion of the new key.

I Write a Song
Complete the "Create Your Own Melody" exercise above, and add llrics that reflect
the two different keys.

LESSON 49 Parallel-Key Modulation

 ffi*tat v*:Key &#sdu§atí*rr
the same notes and chords. A relatiue-key modulation
Relatiae heys are keys that have
moves between two relative keys. It is based on the idea of the deceptive cadence.
This type of modulation is an easy and effective way to surprise your listener. Since
the new key often has a new color, it also often reflects a new lyric idea.

Hit It Out" [D to Bmin],

songs using relative-key modulations include "We Can Work
"Could You Be Love" [Bmin to D], "Kirg of Pain" [Bmin to D], and many others.

The deceptive cadence is where the V chord goes somewhere surprising, instead of
to the I chord. The relative-key modulation is based on that same idea. The only
difference is: you stay in the kE ofth€ deceptiue chord.

Relative Keys
Below are the scales and chords of two keys: C major and A minor. Notice that they
share the same notes and chords (with the exception of minor's possible V chord, E
major). These two keys are therefore called a relcr,tiue pair. The key A minor is tli,.e rela-
tiue minor of C major; C major is the relntiue major of A minor.

C Major
c Dmin Emin F Amin BO c
ffi LO
il iltt Írm
ffi ffi ffi ffi ffi ta| |
llatat
Illill ffil

I Vlmin

A Minor
BO C F G Amin
mÍE" -!-9
LLL]TU

ffi ffi ffi ffi llaall

H+H

Since relative keys have the same notes and chords, it's easy to modulate between
them. Here are the most common types of relative-key modulation.

'd I B l-t 0T E'04

rN§TtfuTo P5ffffio*ut
 Modulation 1. Minor to Relative Major
The first §pe of modulation goes from a minor key to its relative major. To create a
smooth modulation, find a chord that is common to cadences in both keys. Approach
this chord in the first key, and then leave it in the second key. Because thls kind of
chord is a turning point, it is called a piaot chord.

From your earlier study of cadences, you might remember that the "away chord" in
the minor-key full cadence is the hMI, and in a major key, the v. In this major/minor
relative pair, these chords are the same: G. Therefore, the chord G will be the pivot
chord of this modulation. It will act as a door out of A minor, and into C major.

d¡
ltrtll
H+H

t+:=
a)

A Minor: bVII
C Major: V
If the song is in A minor, the listener will expect the G to cadence to Amin. If you
wish to surprise your listeners, rather than to give them what they expect (Amin),
modulate instead to C. To do this, end the A minor section of the song on the G
chord. Then, cadence to the chord C, the tonic of C major. C becomes the song's
new "home," and it should remain in the key of C major.

Listen
Listen to modulation, from minor to relative major. Notice how the G chord in
measures 3-4 moves smoothly to the C chord in measure 5. It has changed keys from
A minor to C major!

G F G C Dmin Emin F
nttf'r e-qo

#H ffi ffi ffi ffi ffi ffi

bvr fbvr I
c'l vl llmin lllmin
Pivot Chord

Listen again, and play along with the recording. Notice that the new key (C) is estab-
lished with a chord progression. This reinforces c as the song's new home key.

LESSON 50 Relative-Key Modulation

Modulation 2. Major to Relative Minor
Modulating to a key's relative majoris similar to modulating to its relative minor. You
just reverse the process. The V chord in major is the b\rII in the relative minor. Look
at it like this:

C Major: V
A Minor: bVII

This V chord is now your door out of C major and into A minor.

To modulate from major to relative ,rrino" simply end a chord progression on the V
chord of the major key, but then resolve it to the Mmin chord, which becomes the I
minor chord of the new home key, in relative minor.

Listen
Listen to this progression from major to relative minor. Notice how the G chord in
measures 3-4 moves smoothly to the A minor chord in measure 5. It has modulated
fromCtoAminor!
C Dmin Emin F G Amin F E Amin F E

fnTr Sffm
ffiffi ffiflffi ffi ffiffiffi l taa | il ttil
LLLL]I ttIU
LLLL]] LLLLU
rrrSn
ttail
LLLLU
LLLLU
t

llmin lllmin lV Vlmin

Amin: lmin bvl lmin bvr
Pivot Chord

Listen again, and play along with the recording. Again, notice how the new key of A
minor is established with a progression.
 Writing Exercises

W-Wi'#i:::¿:f::ffi
I
;:il"#,T;:il,:i-,"K::$*T:;'"i1*'Hi,#J[ffi :Lff
unit to generate your grooves.

I Practice

1. Create a minor-key chord progression that ends on the b\lII chord. Modulate to
the I chord of the relative major key. Create a major chord progression in this
new key.

2. Create a major-key chord progression that ends on the V chord. Modulate to the
Imin chord of the relative minor key. Create a minor-key chord progression in
this new key.

I Rewrite the Hits

1. Choose a progression from any minor-key song you know (or one mentioned
in this lesson). Vary it to end on the bVII chord. Modulate to the I chord of the
relative-major key. Create a major-key chord progression in this new key.

I Choose a progression from any major-key song you know (or one mentioned in
this lesson) .Yary it to end on the V chord. Modulate to the Imin chord of the
relative-minor key. Create a minor-key chord progression in this new key.

r Create Your Own Melody

Complete either "Practice" or "Rewrite the Hits." Then compose a melody in each
key that reflects that key's emotion.

I Write a Song
1. Create a minor-key verse that modulates to the relative major for the chorus.
I Create a major-key verse/refrain that modulates to the relative minor for the
bridge.

LESSON 50 Relative-Key Modulation

§* r$r**§mg-Hey #*'dasB§Éá**
The surprising-kel modulation is also based on the idea of the deceptive cadence. The
difference is that the new key is a not a relative one. This creates more contrast, and
more surprise, and it is a particularly effective way to bring your audience to an unex-
pected place.

Hitsongs that include surprising-key modulations include "Something in the Way

She Moves" [C to A], "Bell Bottom Blues" [C to A], "St. Elmo's Fire" [C to A], and
many others.

We discussed deceptive cadences going from V to \l[, or in they key of C major, a

G chord to an A major chord. The sprprising-key modulation is based on that same
idea. The only difference is that you stay in the hey of the deceptiae chord, in this case
A major.

Listen
Listen to this progression, which modulates to a surprising key. Notice the buildup
on the V chord, and then the deceptive resolution to the A major chord. The song
then continues in the key of A. It has changed keys from C major to A major.

G sus4 G A A/G Ff,min AlCfr Bmin E 7sus4

ffiffiffi Ef;H
ff
ffi ffi ffi ffi ffiffi ffi ffi

IV
A:
Pivot Chord

Listen again, and play along with the recording. Again, notice how the new key of A
is established with a chord progression. You can use this tJpe of modulation to modu-
late between many surprising keys, but the most common one is I major to M major
lC to A majorl.

d
 Writing Exercises

W-Wi"#i:::¿:f::ffi
I
;:il"iilT;:ffi-."K::$sTff '"i1*':ili,#J[ffi :i,H
unit to generate your grooves.

f Practice

Create a major-key progression that ends on the V chord. Resolve it to a surprising

chord (".g., M -ajor, IV major, etc.). Treat this surprising chord as the I chord of a
new key, and create a progression that reinforces it as the new tonic.

r Rewrite the Hits

Choose a progression from any song you know (or one mentioned in this lesson).
Vary it to end on the V chord. Resolve it to a surprising chord (such as \4 major,
IV major, etc.). Treat this surprising chord as the I chord of a new ke¡ and create a
progression that reinforces it as the new tonic.

r Create Your Own Melody

Complete either "Practice" or "Rewrite the Hits." Compose a melody in each key that
reflects the emotion of that key.

I Write a Song
Create a verse in a major key that modulates to a surprising key for the chorus.

LESSON 51 Surprising-Key Modulation

ln part B, you will use modulationin the context of the song. You can either modu-
late within a section or modulate to link nvo different sections together.
 The most common use for a modulation within a song section is to create a two-part
verse. Any of the modulation types we discussed can be used within a section.

Hit songs that modulate within a section include "How Can We Be Lovers" [Amin to
Cmin], "Here There and Everywhere" [Bb to Gmin], and many others.

Liste n
Listen to this verse that contains a modulation. Notice that this verse begins with a
progression in A mino¡ modulates to the relative key of C major, and then continues
in C, ending on the V chord. The V of C will then lead smoothly into the chorus.

Amin/G Amin/F
¡i,Tsl'

ffi

You've wan - dered 'round the streets of towns Where

Amin Amin/G Amin/F G 7sus4 G
riii,l g

ffi HTH
ffiÍ
ffi ffi
\-_;
no knew
C Dmin F

EiIí tu
H+H H# ffi

for sing and smile

D/F G sus4
níTr'
+H
ffi
E+H

tend ing love was game_

Listen again, and play along with the recording. Notice that the lyrics ideas change,
similar to the changes in key colors. The verse also builds intensity before the chorus
by holding onto the V chord.
Complete at least one of these exercises. Play and practice it along with one of the
drum tracks, or create your own rhythm groove. Use any of the rhythmic tools from
unit I to generate your grooves.

I Practice

Create a song section by repeating a progression, ending it on a chord you can use
for modulation [V in majoq bt'II in minor]. Use any of the modulation types you
learned in this unit to modulate to a new key. Create the second part of the verse in
that new key.

I Rewrite the Hits

Choose a progression from any song you know (or one mentioned in this lesson).
Vary it to end on a chord you can use for modulation [V in major, bVII in minor].
Use any of the modulation types yolr learned in this unit to modulate to a new key.
Choose a different song, and then use it to create the second part of the verse.

I Create Your Own Melody

Complete 'oPractice" or "Rewrite the Hits" above. Then create your own melody that
reflects the key colors.

I Write a Song
Complete "Create Your Own Melody" above. After creating a two-part verse, modu-
late to another key and create a contrasting chorus.
 fué *# * Éme§*re #sÉa€§##Fs §*sɧ*ffi §
Modulations are often used to link two song sections-most commonly, a verse and
chorus, or going into a bridge. Any of the modulation types can be used to link two
song sections.

Hit songs that modulate between sections include "We Can Work It Out" ID
Mixolydian to Bmin], "St. Elmo's Fire" [C to A], "Kitg of Pain" [Bmin to D], "Could
You Be Love" [Bmin to D], "something in the Way She Moves" lC to A], "Bell Bottom
Blues" [C to A], "While My Guitar Gent\ \Meeps" [Amin to A], and many others.

Listen
Listen to üis verse/chorus pair, connected by a modulation. Notice that the verse ends on
the V chord in C [G]. As we discussed, the V chord is especially useful in modulations, as
it is an easy link to relative keys or to common surprise-keys. In this example, the G chord
resolves into the A majorchord for a surprising modulation into the chorus.

Amin Amin/G Amin/F G

ffi ffi ffi

wan - dered 'round the streets

Amin Amin/G G 7sus4 Dmin

LO I lLtt
I-g-
IILIU

ffi ffi ffi

U
no - one e - ven knew- your name Then for a-while
Emin F D/Fil G sus4 G
-a.CJ

ffi ffi ffi EfEFI

sing and smile Pre - game-

A E/A G/A
rffi'r"
ffi ffi ffi
Where did you-come from-
F G Amin Amin/G Amin/F Amin
ilIItt ffi il llu
|||
ffi
ta| |
H+H ffiH Hflil ffi

A-man
Listen again, and play along with the recording. Notice the way that the surprise-key
modulat]on to the key of A tVI majorl gives the song an emotional lift at the chorus.
Since the chorus is túe emotional high point of the lpic, this type of modulation
is
especially effective at this point.

How else do the sections contrast harmonically? Melodically?

Complete at least one of these exercises. Play and practice it along with one
of the
from
drum tracks, or create your own r§thm groove. use any of the r§thmic tools
unit I to generate Your grooves.

I Practice
(V
Create a verse or verse,/refrain that ends on a chord you can use for modulation
i" *u¡"t hVlt in minor). Resolve it deceptively to a surprising key. Create a- second
secti; (chorus to follow a verse, or bridge to follow a verse,/refrain) in that new
key.

I Rewrite the Hits

Choose a progression from any song you know (or one mentioned in
this lesson) '
(V
Create a verse or verse,/refrain that énds on a chord you can use for modulation
in major, btrtl in minor). use any of the modulation tyPes you learned in this unit to
modulate to a new key. Create the second section (chorus to follow a verse, or bridge
to follow a verse/refrain) using a progression from a different song.

I Create Your Own Melody

reflects
Complete "Practice" or "Rewrite the Hits." Then create your own melody that
the different key colors.

r Write a Song
Complete "Create Your Own Melody," and add lyrics that reflect the different
key
colors.
These charts show the seven chords of each key color in all twelve
possible transpositions. Use them to transpose power progressions
or any other chord progressions you wish to use.

I Find the key names by reading down the left margin [C, D-flat,
D, E-flat etc.l.

I Potential added notes are shown in parentheses at the top of

each column.

I Read across each line to find the seven chords in that key. For
example, the chords of C major are:

G Amin Bmin CD Emin FflO

I Ilmin IIImin IVV \{Imin \.IIO

I(Maj7) Ilmin(7) IIImin(7) IV(Maj7) v(7) Vlmin(7) VII"(min7b5) I(Maj7)
C D min E min F G A min Bo c
ffi' g
ttttta irl]]lt rrm ffi
ffi TIT5¡
TTTTN ffi ffi ffi ffi ffi

Dh Ebmin F min Gb co Dh

ffi
rT¡T¡

ffi ffi ffi mo* Trrm 3fr

ffi
u lilt
t |+t
LLlrUl
Ittrl HtH ffil

D Ffimin G A B min D

ffi rrrm
trDti ffi
ll| | ffi g

[Hfl [Nt fl# ffi- Hffi ffi

Eb F min Bh Do Eb

ffi ffi
aTTT-a4fr

ffi
ETTB

ffi ffi
H+H ffi

E Fflmin Gfrmin A B Cfimin Dil' E

ojo
rrrm
mot mrm rrrm rrrrra4fr
ffi ffi
aI taaa
ffi sft
Ll]tltl
H+H ffi ffi ffi

F G min Bh C D min Eo F

trlttt lTTm 3fr TT¡T¡ 2fr Srrr¡i¡

ffi ffi ffi ffi ffi trIl1l

HH
LLtt I I
Hfl{

I(Maj7) Ilmin(7) IIImin(7) IV(Mai7) v(7) Vlmin(7) VII"(min7b5) I(Mai7)

 I(Maj7) Ilmin(7) IIImin(7) IV(Maj7) v(7) VIrnin(7) ul"(min7b 5) I(Maj7)

Gh Ahmin Bbmin ch Db Ebmin Fo Gb

rrrm rrrm
ffitn
taatII m*' ffi ffi
I taaaI ffi ffi m"' ffi

G B min C D E min Fil" G

Trrm 4fr

ffi ffi ffi ffi ffi ffi riffr

E+H

Ab Bbmin C min Dh Eb F min Go Ab

{TTTII¿r. aI I taa4ft
¡-rr¡
ffi ffi m"' ffi ffi ffi m"' Hflil

Ah

A B min Cfimin D E Ffimin cf A

LO
rnm
ffi ffi ffi m* H++tl
ffi m*' ffi ffi
A

Bb D min Eb F G min Ao Bb

|||
ETTT} f¡T¡ TT5m
mm
7fr
I taaaI
ffrn H# ffi m"' HTH ffi

B Cflmin Dfrmin E Fü Gfimin Ar B

9-99 Trrm Sfr
mrm
|||
tall ta
Llrttil m* ffi ffi ffi ffi ffi

I(Maj7) Ilmin(7) IIImin(7) Iv(Maj7) v(7) Vlmin(7) VII"(min7b 5) I(Maj7)

 Remember the optional major V chord, which is listed in parentheses in the last
column of each key.
Optional
V chord

IminT II"(min7b5) brrrlua¡Z ) IVmin(7) V(min7) bvr6aa;z¡ bvrr(z) IminT v(7)

C min D" Eb F min G min Ab Bb C min G

Cmin
m'" ffiffi m"'
ffi,lfr
ffiffi ETTT}

m* ffi

Cfimin D#' E Ffimin Gfimin A B Cfimin Gil

tmn' Írm rrrm aI I taa4rr
rrrS¡
ffi" ffi ffi
aI taaa
rlrlñ
Itil | ffi |||
t+| t+
I t++at m* Fnn-l

Cfi min

D min EO F G min A min Bb C Dmin A

ffi m"' ffi m3f'

H+lll ffi ffi ffi ffiffi
Ehmin FO Gh Abmin Bbmin B Dh Ebmin Bb

Iil |i IITTB

ffi m"' ffi m* ffi ffi ffi ffi

Ebmin

Fil' G A min B min C D B

TTrm 4fr mrm rrrm

ffi ffi ffi
talIa
ffi ffi ffi ffi
Emin

F min GO Ah Bbmin C min Db Eb F min C

rSTm3fr rÍt¡"
ffi m"' m* ffi ffi ffi ffi ffi ffi
Fmin

rminT rr'(min7h5) buI6aa3Z¡ rvmin(7) v(min7) bvrpra.¡Z¡ bur(Z) rminT v(7)

 Optional
V chord

IminT II" (min7b 5) brrr(Ivra;Z¡ rvmin(7) V(min7) bvrpra¡z ) bvII(7) IminT v(7)

Cfimin D Ffimin Cü
Ffimin Gil' A B min E

ffi ffi m* ffi ffi ffi mm

ffi
ffi m*' Hlll-l ffi ffi
Ffimin

*
C min D min Eb F G min D
G min AO Bh

ffi3fr ffi3fr.
ffi ffi ffi m"' ffi ffi ffi il||
[flx ffi
Gmin

Dflmin Fil Gf,min Dfl

Gfrmin Aü' B Cfrmin E

rrrm rrrm
m*' ffi ffi m* ffi ffi ffi m*' ffi
Gfimin

E min G A min E
A min BO C D min F

atIttt
ffi dd
ffi ffi ffi ffi ffi E+H
llaall
HIH ffi

,!
min Gb Bbmin F
Bbmin CO Db Ebmin F i"
arrrsa4fi.

ffi m'* ffi ffi ffi ffi ffi ffi

Bbmin

Ff,min G A B min Ff;

B min Cil' D E min
rrm rrrm

ffi
ffiafr.
ffffi ffi ffi ffi ffi ffi ffi

rmin7 rl.(minZbf¡ bmpraST) Ivmin(7) v(min7) bvtltvtaSZ¡ bVu(Z) IminT V(7)

 r(7) Ilmin(7) III"(min7b5) IV(Maj 7) Vmin(7) Vlmin(7) hvrrpua¡z¡ r(7)
C Dmin EO F G min Amin Bb C
ffi
ffi m'"
r+r
r ffi rrrm
{Tr5-+3fr

ffi
-Lo
LLII+I
Llrttll
Htfl
ffií
frH

Db Ebmin F" Gb Abmin Bbmin Cb Db

ffi ffi
ÍITII 3fr
ulilt ffi
ffi
rrrm mm
HIH Ht{ m*' ffi LLLIT]
HIH

D E min Fil" G A min B min D

rT¡T¡ 4fr Íiin tu' ffi
HIffi ffi ffi ffi ffi r |+t
Lltt|l ffi

Eb F min GO Ab Bbmin C min Db Eh

ffi ffi mto

m*'
rSTrr¡Sfr

ffi
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Thank you for reading The Songwriter's Harmony.I hope that these tools
help you write some great songs.

Now that you've completed this book, your next step is to incorporate these new
skills into your everyday songwriting. In the same way that instrumentalists practice
scales, you should also warm up before you write. Here are some ideas for daily song-
writing exercises:

# Create six chord progressions under the same melody.

* Create six grooves of the same progression.

Continue using this book as a source of ideas. Go back and do some different writing
exercises. You will be amazed at how much easier the tools become after vou've
already used them.

Also, try the other products in The Songuriter's Worhshop series: the book on melody
and the various online songwriting classes at Berkleemusic.com. These materials are
filled with similar tools that will help you create and develop ideas. They are all based
on how hit songs really are created, and I hope that you find them as useful as I do.
The online classes give you the opportunity to participate in a community of song-
writers, guided by a Berklee songr,vriting professor (maybe me!).

Sing, stud¡ and learn from the great songwriters of the past. And keep writing.

Jimmy Kachulis
Professor
Berklee College of Music

B!B{.IOTECA
I ñl STIT{.¡T'C PRC FE§IO§{AL
P ROJAUU
*ho'¿¡t th* *¡tksf
Jimmy Kachulis has trained thousands of songwriters, including Grammy-winning
artists on Rounder, A&M, and MCA; staff writers at Almo Irving, Son¡ Warner
Brothers, and EMI; A&R people at Warner Brothers, BMG, and Sony; artists on
independent labels; as well as independent songwriters. He currently teaches song-
writing and lyric writing at Berklee College of Music and conducts songwriting clinics
nationwide. Jimmy's songs have been recorded and broadcast internationally on The
Sopranos, Tbuched b1 an Angel, Jag, All My Children, The Young and the Restless, One Li,fe
to Liae, The Jamie Foxx Show, Mouie of the Week, and various Showtime movies. He has
written for Eric Gale, Stuff, and Martha Reeves. He has a BS from Hunter College
CUNYand an MA in Ethnomusicology from Tufts University.

Jimmy has authored the Songzrriter\ Wrkshop series and Essential Songuriterfor Berklee
Press. In addition, he has created three online courses for Berkleemusic.com in The
Songwriter's Workshop series: Harmon¡ Melody, and Hit Song Forms. For more infor-
mation aboutJimmy Kachulis, his books, and his music, see wwwjimmykachulis.com.
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 TENTS
CDTracks .........vi
preface ... viii
Acknowledgments. ......ix
Basics ......x
Overview:TheSongwriter'sWorkshop:Harmony .......xv
Un¡tl. GeneratingaGroove ........1
A. Partsof aGroove .........2
Lessonl. CreatingaGroove .........'3
B. Building a Song Section ........5
Lesson 2. Developing a Groove . '.....6
Un¡t ll. Chord Colors and Lyric Stories . . . . .9

Lesson3. MajorChordColor. ....----12

Lesson4. MinorChordColor. ..'....15
Lesson 5. Power Chord Color . - . . . .. .17

Lesson 6. Seventh Chord Color . .....20

B. Varying Chord Colors. ........ 23
Lesson 7. Variations of Chord Colors . . .. . . . .24

Lesson 8. Alternating Variations . . .. .28

Unitlll. ColorsofKeys. ......31

A. Five Common Key Colors ..... 33
Lesson 9. Major Key Color ' . . .34
Lesson 10. Minor Key Color . . . .37

Lesson 11. Mixolydian KeyColor. '....39

Lesson 12. Dorian KeyColor ........'.41
Lesson 13. Blues Key Color. . . . .43

Lesson 14. Colors Outside the Key . . . .46

B. SongsfromProgressions .....51
Lesson 15. Repetition.... .--...52
Lesson 16. Contrasting Sections '...'.55
Unit lV. Power Progressions ... .... 59
A. Power Progresssions in the Five Key Colors . . . . . . 60

Lesson 17. Major-Key Power Progressions..... ......61

Lesson 18. Minor-KeyPowerProgressions...... ....'64
Lesson 19. Mixolydian-Key Power Progressions...... ..- " "67
Lesson 20. Dorian-Key Power Progressions..... ."''69
Lesson 21. Blues-Key Power Progressions

Prolar.z
 B. Buildingsongsections.. ..,,.74
Lesson 22. One Section,Two progressions.... .......75
Lesson 23. Two Sections,Two progressions.... ...,..7g
Unit V. Rhythm Variations of progressions . . .. . 81
A. RhythmVariationsof progressions.. ......82
Lesson 24.Progression Length ........g3
Lesson 25. Chord Rhythm .....86
Lesson 26. Chord Order. .......g9
B. Building Song Sections . ..... 9t
Lesson 27. Rhythmic Contrast:Two Sections from One Progression ....-. .g2
progressions....
Lesson 28. Two Sections,Two ......96
Lesson 29. A Contrasting prechorus. .........gg
UnitVl. PitchVariationsof Progressions.... ... t0l
A. Pitch Variations of progressions. . . . 1O2
Lesson 30. Subtract Chords .. 103
Lesson3l.AddChords ......106
Lesson32.ReplaceChords. ..1t0
Lesson 33. Add a pedal ...... 116
B. BuildingSongsections.... ..1I9
Lesson 34. Pitch contrast:Two sections from oneprogression ... 120
Lesson 35. Three contrasting sections from oneprogression .... 123
UnitVll. Harmony and Melody .... ....,, 127
A. Harmonizing Melody Notes. ....... 128
Lesson 36. Coloring a Word .. Dg
Lesson 37. Coloring a phrase ....... 132
B. Building Sections ..... 136
Lesson 38. Coloring a LyricSection. ........137
Un¡tvlll. Home and Away ... ¡.. ,.. 141
A. Harmonic Journeys ... . 142
Lesson 39. Full Cadences .... 143
Lesson4O. Half Cadences ....147
Lesson41. DeceptiveCadences...... ....._ 14g
Lesson 42. Plagal Cadences ......... 151
Lesson43.MixedCadences. ........153
B. Building Song Sections.. .... 155
Lesson44.Verse/Refrain:Home/Away/Home... ....156
Lesson45.Verse:Home/Away ......159
Lesson 46. Building a Chorus with a Cadence ..... 162
Lesson 47. Building a Bridge: Away/Away . . 168
Lesson 48. Connecting Sections with Cadences ... 171
Unit lX. Modulation ..,177
A. Ways of Changing Keys ...... t7a
Lesson 49. Parallel-Key Modulation .. ...... 17g
Lesson 50. Relative-KeyModulation. ....... 181
Lesson5l.Surprising-KeyModulation .....185
 B. Modulation in Songs .. ¡.. . .. tg7
Lesson 52. Modulation Within aSection. .. . 1gg
Lesson 53. Modulation Between Sections. . . 190
Appendix. ...... 193
What's Next?. ...2O4
About the Author ..... 205
Un¡t !. Generating a Groove Unit V. Rhythm Variations of
1. Three Grooves Progressions
2. Repetition in Grooves 36. Rhythm Variations "l lV"

Unit ll. Chord Colors and Lyric Stories 37. Length Dorian
(four measures)
3. Major Chord/Groove 38. Chord Rhythm "l lVV"
4. Minor Chord/Groove
39. Chord Rhythm E Mixolydian
5. Power Chord/Groove
40. Chord Order"l lVV"
6. SeventhChord/Groove
41. Chord Order Mixolydian
7. Dmin/Dmin7
42. "Roller Coaster Ride"
8. A/Asus2
43. "Driving Me Over the Edge"
9. Al3 Groove "Celebrity"
44. "One for the Road"
10. Amin/Amin(sus)"Darkness"
Unit Vl. Pitch Variations of
Un¡t ll¡. Colors of Keys Progressions
1 1. C Major Notes and Chords 45. Subtract
12. C Major"l lV" 46. Add
13. A Minor Notes and Chords 47. Replace
14. A Minor"lmin hvll" 48. Pedal
15. G Mixolydian Notes and 49. "Lies"
Chords
50. 'Always the Last to Know"
16. G Mixolydian "l bvll"
17. D Dorian Notes and Chords Un¡tVll. Harmony and Melody
18. D Dorian "lminT lY7" 51. "Love" (four chords)
19. C Blues Notes and Chords 52. "Love" (four colors)
20. A Blues "l7lV7' 53. "Heart" (no chords)
21. Borrowed Type 54. Melody Phrase Only
22. Borrowed Root 55. "l Learned a Lot about Love"
(eight harmonization
23. Secondary Dominant variations)
24. "She Moves, She Grooves" 56. Verse/Refrain (no chords)
25. "Sweet Amanda" 57. Verse/Refrain Variation 1

Un¡t lV. Power Progressions 58. Verse/Refrain Variation 2

26. Major Power Progressions UnitVlll. Home and Away
27. Major Exercises 59. FullMajor
28. Minor Power Progressions 60. FullMinor
29. Minor Exercises 61. Full Blues
30. MixolydianExercises 62 FullMixolydian
31. Dorian Exercises 63. Half Major
32. Blues: "lblll lV" 64. Deceptive Major
33. 12-Bar Blues 65. Plagal
34. "Yours, Mine, Ours" 66. Mixed
35. TIWantYou" 67. "Now You've Got to Go"
 68. Verse
69. Two Choruses
70. Bridge
71. Verse/Chorus 1

72. Verse/Chorus 2
73. Verse/Chorus/Bridge
Un¡t lx. Modulation
74. Parallel
75. Relative 1: Minor to Major
76. Relative 2: Major to Minor
77. Surprise
78. Within a Section
79. Between Sections
Play-Along Drum Tracks
Use these play-along drum tracks for each
lessont writing exercises.
80. RhythmTrack 1

81. Rhythm Track 2

82. Rhythm Track 3
83. Rhythm Track4
84 RhythmTrack5
85. Rhythm Track 6
This book is designed for songwriters who can play some chords and want to learn
how to use them to create songs. It gives a foundation for the melodic tools covered
in The Songwriter's Workshop: Melody book.

Harmony is one of the essential parts of a modern song. There are two different
approaches to the way harmony is used in a song: one from Africa and one from
Europe.

The Africans created chord progressions that cycle over and over, with a rhythmic
feel or groove. These ideas are covered in units I to V. In this approach, the key's
general color and the groove's ¡hythms reflect the overall mood of the llric story.

The Europeans created the tlpes of chords (majo¡ minor, and so on) and most of
the keys we play. These ideas are introduced in units II and III.

They also created the idea that chords are in a key, and are classified as being "home"
or "away from home." This approach emphasizes movement of chords towards the I
chord, "home," and the way a chord can color the meaning of an individual word or
phrase. These ideas are covered in detail in units M and MI to IX.

Modern popular songs combine these two approaches to harmony: the European
and the African. Considering both types of influences may help lead you to ideas
during your own songwriting process.
Thanks to all of the following:

Debbie Cavalier, Dean of Continuing Education at Berklee, for her initial vision of
this series, and her unstinting support through all its various incarnations. From the
beginning to the end, her ideas were always crucial to its completion.

Jonathan Feist, at Berklee Press, whose insights into structuring the subject matter
and focusing the topics and writing style have contributed immeasurably to this
series. The series' success is due in large part to his continual creative input.

Sue Gedutis Lindsay, at Berklee Press, for taking the extra time to read and suggest
critical improvements.

Jack Perricone, Chair of the Songwriting Department at Berklee, for his insights into
the way songs work. As author of Melody in Songwriting, he has inspired countless
people to better their rriting skills.

Pat Pattison, Professor of Songwriting at Berklee, for starting the whole songwriting
program at Berklee, and for his staggering insights into lyric structure and content.
His books on lpic writing are an inspiration to scores of people worldwide. Without
his dedication and inspiration, none of what we do as songrriting teachers would be
possible.

Jon Aldrich, Associate Professor of Songwriting at Berklee, whose encouragement

and insights into the writing process have been a continual delight.

Andy Koss, Caroline Gulde, and Matt Pryor, for their wonderful performances and
production on the recording, contributing to the success of this project.

All my students-past, present, and future-who gave me their frust as a teacher. If

they only knew that I learn much more from them than they ever learned from me.

Most of all, Anne and Maria Terese, for their love and understanding. Without them,
none of this would have been possible.
To get the most out of this book, you should understand the following musical
concepts.

Musical Alphabet
Notes are named for the first seven letters of the alphabet, A to G. They often appear
graphically, on a musical staff:
BeloW you can see how the note names relate to the guitar and keyboard. Two octaves
(registers) are shown.

U¡ tt
qtf=-- .tt ¡¡r 2 2
E' E' E ,E' ,E' ,E'

Oe
BC