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Chord charts are useful for sketching out the harmony of a song. Many times a band will use a chord chart as a basis from which to build an arrangement. Each player will interpret the chart by creating a specfic part: bass part, keyboard part, guitar part and so on. In this lecture we will look at some simple chord charts of some pop songs from the 60's.
With the recent re-release of Pet Sounds by the Beach Boys, I've been listening to alot of Brian Wilson's songs trying to find a couple of good examples for discussion. Much of his music on Pet Sounds is just too complex to discuss in the context of what we have learned. I have decided to discuss two songs that aren't as complicated yet still have interesting twists and turns. These songs are still a tad beyond what we have learned in this course. The Brian Wilson songs I'll discuss are "California Girls" and "Don't Worry Baby". Both of these songs modulate to different keys in the chorus and then return to the original key as it cycles back to the verse. Please understand that modulation is a topic that is usually studied after another full year of theory, just thought you should be aware of that.
Here is a chord chart for California Girls. It is in the key of B major, 5 sharps.
---------------------------------------------------------------------
California Girls
4/4 | intro riff | E | B7sus | E | A7sus ||
vamp| B | B |
verse||: B | B | A/B | A/B | E | E | F# | F# :||
chorus| B | C#m7 | A | Bm7 | G | Am7 | B | B || 1x back to verse
2x continue
2 bar interlude|(notes: b f# g# f# b f# g# f# | c# f# g# f# c# f# g# f# |
outchorus ||: B | B | C#m7 | C#m7 :|| (repeat and fade)
---------------------------------------------------------------------
Some words about the notation.
The vertical lines are barlines, the time signature is 4/4 so each measure contains 4 beats. The Capital letter by itself represent a major triad (ex. B = B major triad). A Capital letter with a "m7" represents a minor 7th chord (ex. C#m7 = C# minor 7th chord). This is a triad plus another note included making a four note chord. (We don't study 7th chords in this class, but they are next step after triads.) The "7sus" extention represents a 7th chord with suspended 4th chord, once again beyond the scope of this class. Briefly, a "7sus" chord is 7th chord with one of the notes changed or "suspended". There is a formula for all of the chords but it would only bog down the discussion. The "A/B" notation represent a triad with a different bass note. This example means an A major chord with a B note in the Bass. The lower case letter names in the interlude section are individual notes (not chords).
A short discussion of the concept of key. When a piece is in a key, one of the things available is the diatonic chords from that key. "Diatonic" means that only the notes of the prevailing scale are used to make up the "diatonic chords". Other chords are always available if a composer wants to use them, but these other chords are not "diatonic chords". Since California Girls is in "B", there is a set of chords in the key of B that sound good when used one after another, there are several different ways to move through the chords in the key. Here is a list of the first five triad in the key of B (chords are identified by roman numeral). The keys of A and G are included for comparison. Notice that there are a couple triads (C#m and E) in common to both the keys of B and A. However, most of the triads are not common to both keys. Notice also the two triads (Bm and D) in common to both the keys of A and G.
I II III IV V
Key of B: B C#m D#m E F#
Key of A: A Bm C#m D E
Key of G: G Am Bm C D
These keys are used in the chorus of California Girls
Listen to the song and follow along with the chart, counting the measures as you go. The chord progression in the intro is too complicated to discuss but after the intro it settles into the repeating figure (I've labelled it "vamp", a generic term used to indicate a repeating pattern) that is sometimes used in cowboy music. The chords of the verse are all diatonic to the Key of B except the A/B chord. This chord (an A triad with a B in the bass) gives it a mixolydian sound for a couple of bars (mixolydian is one of the modes discussed in a later lesson). I like that sound, "In my Room" uses it also. The short harmonic analysis of the verse is "it's in B major with a little of B mixolydian in bars 3-4". You may remember that there is only one note different between a major scale and a mixolydian. Mixolydian is frequently used in Rock music.
During the chorus the chord progression can be analyzed as follows:
| B | C#m7 | A | Bm7 | G | Am7 | B | B || I II I II I II I (in B major) (in A major) (in G major) (in B)
The chord progression is both simple and brilliant. A simple two chord diatonic chord progression ( I - II ) played in three different key in succession. How does it sound so smooth with all of those key changes in succession? Notice the change from the key of B to the key of A occurs at the C#m7 to A change. refer back to the diatonic chords listed above and you see that C#m (and C#m7 as it turns out) was one of the common triads to both the keys of B and A. So C#m7 is in both of the keys and it makes for a perfect transition chord between the two keys. We call this common chord modulation and C#m7 is the common chord (also called a "pivot chord") between the old key (B) and the new key (A). Likewise the Bm7 chord is common to both the key of A and G and it helps connect those keys. The return to the key of B at the end of the line does not use this technique but the lift in the bass notes of the chords (G to A to B) provides a smooth return to the key of B.
If this doesn't make sense now, it will after you take Music 3 (first year music theory).
Below is a chord chart for Don't Worry Baby. It's a pretty gooey song that matches the lyrics about the righteous girlfriend of a car braggin' guy and how the world is right when she says "Don't Worry Baby" with music that is very soooooothing. I want to meet her.
The verses are in the key of E. All of the chords (E, A and B) are diatonic to E. The chorus is in the key of F#, all of the chords except the last measure of the chorus are diatonic to F#. See below for further comments.
------------------------------------------------------------------
Don't Worry Baby
4/4 ||: E | E | A | A :||
Verse||: E | E | A | B | E | E | A | B |
prechorus| F#m | B7 | G#m | C#7 |*
chorus| F# | F# | G#m | C#7 | F# | F# | G#m | C#7 | E/B B ||
back to verse
*outchorus ||: F# | F# | G#m | C#7 :||
-------------------------------------------------------------------------------
The modulation from the key of E to the key of F# occurs in the prechorus section ("but she looks in my eyes and makes me realize when she..."). Once again Brian Wilson uses the common chord method for modulating. Look at the diatonic chords for the keys of E and F#.
I II III IV V
Key of E: E F#m G#m A B
Key of F#: F# G#m A#m B C#
There it is, G#m. Common to both keys, it a "III" chord in the key of E and a "II" chord in the key of F#. It provides a smooth transition from the old key (E) to the new key (F#) because it is "diatonic" to both keys. The last chord of the prechorus lead into the chorus which is definitely in the new key of F#.
The last measure of the chorus contains and E/B chord which is not diatonic to F# major. It is a chord that sets up the return to key of E. It sounds different and makes the transition back to the key of E interesting.
Using a more generic Roman Numeral analysis, we come up with this:
4/4 ||: I | I | IV | IV :||
Verse||: I | I | IV | V | I | I | IV | V |
prechorus| II | V7 | III | VI7 |*
II V7
(--- in the Key of II --)
(in II)
chorus| I | I | II | V7 | I | I | II | V7 | I64 V ||
(in orignal key)
back to verse
*outchorus ||: I | I | II | V7 :||
The technique of common chord modulation is used frequently in classical music. It is one of the standard modulating techniques you would learn about in Music 3.
p>This song by the Beatles uses the Mixolydian mode for the verse section. It has a majorish sound but it is not exactly major. The seventh scale degree is lowered one half step compared to major. Often it is written out with a major key signature and the lowered seventh is notated with a accidental. There are only two chords in this section. I and the VII chord in mixolydian. These are both major chords whose root is a major 2nd apart. I've shown the opening lyrics of the song. If you are familiar with the song you may remember the 3/4 meter.
Verse
I once had a girl or should I
3/4||: E | E | E | E |
say she once had me
E | D | E | E :||
Bridge
Em | Em | Em | Em | A | A | A | A |
Em | Em | Em | Em | F#m | F#m | B | B |
The bridge of the song is in E minorish. Not quite natural, harmonic or melodic minor; the first 14 bars are Dorian. Only the last 2 bars of the bridge are outside of dorian, those bars function as a Dominant chord leading to the tonic of E in the verse.
Both the verse and the bridge are in "E" but it's not truely major or minor. The thumbnail analysis is "it's mixolydian during the verse and dorian during the bridge.". It's sort of a different spin on the common practice of starting in major and then going to the parallel minor. This time it's starting in mixolydian and moving to dorian of the same tonic. There are even less notes to modify to make that change. Do you know how many? Yep, only one. Lower the third of mixolydian and you have dorian. In fact some rock music uses chords from mixolydian and melodies from dorian at the same time. That one note difference creates a tension that is part of some more aggressive rock styles. It's true, I seen it, heard it, been there, done that.
Norwegian Wood doesn't use the two modes simultaneously however, it's one after the other. They take turns. No pushing, no fighting.
This section uses ascii text notation.
Here's a simple example using the blues scale and a basic shuffle groove. I've seen several different scales referred to as the "blues" scale. The scale I'm using is sometimes called the "minor blues scale" and has a formula as follows:
1 b3 4 #4 5 b7 (compared to a major scale)
In the key of "A" the notes are A C D D# E G.
This diagram shows the scale spanning two octave plus. (the big 0's on strings 1, 4 and 6 are roots of the scale, when played at the fifth fret, they are letter A.) I'll use this form of the blues scale for the example, but I'll use tabulature for the notation.
6 5 4 3 2 1 ___________ |_|_|_|_|_| |_|_|_|_|_| 0_o_o_o_o_0 <-- 5th fret |_o_|_|_|_| |_o_0_o_|_| o_|_|_o_o_o
An important part of creating interesting musical lines is the rhythmic phrasing. This example uses a repeating rhythmic pattern of about four bars in length. It contains some common phrasing used in the blues. The pattern can be divided down into two shorter segments. Here's the rhythm:
& 4 & 1 2 & 1 2 & 3 & 4 & (1 2 3 4 1 2 3)
__ ___ || ___ | ___ ___ ___ | |
4 | | | || | | | | | | | | | | | | | | |
4 0 0 0 || 0 0 0 O | 0 0 0 0 0 0 0 | O | O 7
\__/ \____/\_______/ (8th rest)
<--- 1st segment ---> <--- 2nd segment --->
It is a bit artifical to continue to repeat exactly the same rhythm over and over as this example does, but it allows for recognizable patterns. This example is pretty "scaley" so it might be a sound you are trying to avoid.
I start with an opening phrase, the 1st segment begins upward and twists back down at the end. The 2nd segment is simply descending scalewise motion. During the second phrase the 1st segment has the inverted contour of its corresponding segment in the first phrase. This time it begins downward with twist up at the end. The 2nd segment is descending scalewise motion this time starting one note higher in the scale compare to the corresponding segment in the first phrase. The last phrase's 1st segment is descending scalewise motion, this time with no change in direction. Finally the 2nd segment is identical to the 2nd segment of the first phrase. Certainly this a contrived example but here are the points that are important and maybe useful. These concepts can be applied to any melodic idea.
1) invert the melodic direction of a phrase. If you like something, try it upside down (and backwards too). Many times you find another interesting phrase.
2) repeat a rhythmic phrase while using new note choices, I overdid it in this example but it can help make for overall cohesion when used more sparingly.
3) repeat a melodic contour starting on a different scale degree. In classical theory this is known as "sequencing" a melodic phrase.
4) It's OK to let a note ring out for a long duration. It's also OK to not play at all for a few counts.
Additional time tested melodic ideas not shown in this example include changing the direction of a melodic line after a large leap. The NBC musical logo is an example (G up to E down to C)
I hope this is food for thought.
Here it is:
The Contrived Blues
A7
__ ___ || ___ | ___ ___ ___ | | __ ___ |
4 | | | || | | | | | | | | | | | | | | | | | | |
4 0 0 0 || 0 0 0 O | 0 0 0 0 0 0 0 | O | O 7 0 0 0 |
\__/ \____/\_______/
---------------------------------5----------------------------------------
------------------------------------8-5-----------------------------------
-----------------5----------------------8-7-5---------------------8---7-5-
---------5-7---------7-7----------------------7---------------------------
-----7--------------------------------------------------------------------
--------------------------------------------------------------------------
D7 A7
| ___ | ___ ___ ___ | | __ ___ |
| | | | | | | | | | | | | | | | | | | |
| 0 0 0 O | 0 0 0 0 0 0 0 | O | O 7 0 0 0 |
\__/ \____/\_______/
------------------8--5-----------------------------8---5---
-----------------------8-5-------------------------------8-
------5-7------------------8-7-5---------------------------
--7--------------------------------------------------------
-----------------------------------------------------------
-----------------------------------------------------------
E7 D7 A7 (E7)
| ___ | ___ ___ ___ | | |
| | | | | | | | | | | | | | | |
| 0 0 0 O | 0 0 0 0 0 0 0 | O | O |
\__/ \____/\_______/
------------------5----------------------------------------
--5------------------8-5-----------------------------------
------8-7----------------8-7-5-----------------------------
-------------------------------7---------------------------
-----------------------------------------------------------
-----------------------------------------------------------
Here's a MIDI file with this example played twice in a row.
The Contrived Blues MIDI file
The Contrived Blues mp3 file
Play file
more ascii text from email an email conversation...
...
Dogs love trucks,
I love guitar questions.
>Mike, > For guitar, when you see a chord chart and it has a chord listed as A5 >or b5, etc., what is that, Is it a sharp fifth a flat fifth or what? I >see it all the time and can't play a lot of certain songs because I >don't know it.
You are correct, A5 means augmented fifth (sharp fifth) and b5 means flat fifth. The trick is knowing where the fifth is so that you can raise it or lower it. Usually these chords are more complicated than the simple triads we will study but the process is the same.
Take these two examples: G7b5 and G7+5
(more often than not the "+" symbol is used instead of "A" or "Aug", another alternate notation is the "#" symbol as in G7#5)
The regular G7 chord contains four notes, a root (G), a third (B), a fifth (D) and a seventh (F). The chord voicing shown below has the root on string 6, the 7th on string 4, the third on string 3 and the fifth on string 2. (this is only one of several versions of this chord).
(The following diagrams need a fixed width font such as courier to line up properly)
Using chord diagrams:
G7 (notes: G B D F)
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_|_o_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
next is
G7b5 (notes: G B Db F)
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_|_|_o_|
o_|_o_|_|_|
|_|_|_o_|_|
|_|_|_|_|_|
|_|_|_|_|_|
and finally
G7+5 (notes: G B D# F)
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_|_|_|
|_|_|_o_o_|
|_|_|_|_|_|
|_|_|_|_|_|
Same thing in tab
G7 G7b5 G7+5
1 |----------|----------|----------|
2 |--- 3 ----|--- 2 ----|--- 4 ----|
3 |--- 4 ----|--- 4 ----|--- 4 ----|
4 |--- 3 ----|--- 3 ----|--- 3 ----|
5 |----------|----------|----------|
6 |--- 3 ----|--- 3 ----|--- 3 ----|
(One more thing, the A5 symbol can also mean an A chord with only
roots and fifths, sometimes called a power chord in hard rock.
This useage would include G5, F5, E5, etc. however I don't think
that pertains to your question.)
> Also what is the formula for suspended chords for example Asus9?
The sus symbol stands for suspended 4th. Usually it is a chord where
the third of the chord is replaced by the fourth. Here is a G7sus
(sometimes written G7sus4). Compare it to the G7 shown earlier.
G7sus
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_|_|_|_|
o_|_o_|_o(o)
|_|_|_|_|_|
|(o)|_o_|_|
|_|_|_|_|_|
Most guitarist would use a barre at the third fret and perhaps
include the notes in the parentheses (another fifth on string 5,
another root on string 1) so that they could strum across the
strings. Otherwise they would have to use a fingerstyle
technique to avoid string 5.
As it turns out Asus9 (often written A9sus) is the open strings
1-5. You can see why by examining C9 and C9sus. The C9
voicing is (from low to high) root, 3rd, 7th, 9th, 5th.
here's C9 (notes: C E Bb D G)
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_o_|_|_|
|_o_|_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
now C9sus (notes: C F Bb D G) - the 4th (F) replaces the 3rd (E)
6 5 4 3 2 1
___________
|_|_|_|_|_|
|_|_|_|_|_|
|_o_o_o_o_o
|_|_|_|_|_|
|_|_|_|_|_|
|_|_|_|_|_|
You can't play the same voicing for A9 (it runs out of room
if you move the C9 voicing down three frets) but the A9sus
turns out to be all open strings. The world's easiest jazz chord.
(Of course many different voicing for A9 are available at other
locations on the neck.)
Sus2 chords
Alot of player have experimented with a sus2 chord where
the third of the chord is replaced by a 2nd. Not only in
jazz but in some rock styles, group like the Police and U2
have used these chords. Sometimes these type of chords are
called "add 9" chords, i.e. Cadd9.
Csus2 (or, as I call it, C2) (barre the third fret)
___________
|_|_|_|_|_|
|_|_|_|_|_|
|_o_|_|_o_o
|_|_|_|_|_|
|_|_o_o_|_|
|_|_|_|_|_|
Fsus2 (barre the third fret)
___________
|_|_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_o
|_|_|_|_|_|
|_|_|_o_|_|
|_|_|_|_o_|
The "spread-out" version, prepare for pain. It's worth it.
Sting's tune "Message in a Bottle" uses this type of voicing
throughout the verse.
Bsus2
___________
|_|_|_|_|_|
|_o_|_|_|_|
|_|_|_|_|_|
|_|_o_|_|_|
|_|_|_|_|_|
|_|_|_o_|_|
These chords are often used in place of a simple major (or sometimes minor) triad.
>Lastly, why do you usually mute the fifth string in lots of jazz chords?
The interval spacing (from low to high) of root, seventh, third, fifth is very common. The G7 examples above use that voicing. If the root is placed on string 6 the next note in that voicing will be on string 4. The more general principle is that the guitar is actually a low sounding instrument (it sounds an octave lower than it is written) and it can be a "muddy" sound if you voice small intervals (like second and thirds) on the lower strings. Just as a pianist might have a wide interval in the lower part (left hand) of chord voicing, many guitarist also like to use a wide interval on the lower part of their chord voicings. This frequently results in the fifth string not being needed.
This is by no means an absolute however, I can think of many examples where a jazz chord on guitar DOES use both 6th and 5th strings.
Here's one, Abmaj13, sometimes called Ab69(maj7), Use a first finger barre at the third fret, use the second finger on string 6 and the third finger on string 2. It can be used anywhere that you would use an Abmaj7 (and it's moveable to any other root).
6 5 4 3 2 1 ___________ |_|_|_|_|_| |_|_|_|_|_| |_o_o_o_|_o o_|_|_|_o_| |_|_|_|_|_| |_|_|_|_|_|
Here's another email conversation:
Beaming can get a little involved but it usually comes down to the basic principle of using beaming to make the beats of the measure stand out visually. I'll try to give you a couple of examples plus some additional reasons why one might break these rules. Oh boy.
I'll try to use some hokey email notation (the examples require a fixed size font such as courier to line up properly.)
O = whole note
|
O = half note
|
0 = quarter note
__
|
0 = eighth note
__
|-
0 = sixteen note
The period (.) is used for dotted notes.
Assume you have a couple of sixteenth notes that start on the "and" of a beat.
(double dotted quarter, six sixteenths, a quarter)
1 2 & 3 4
___ _______
4 | |-| |-|-|-| |
4 0.. 0 0 0 0 0 0 0
The above beaming shows use where the third beat begins because the third and fourth sixteenth notes are note connected. There is a beam group of two sixteenths, and another beamed group of four sixteenths. This coinsides with the beat structure of the 4/4 meter.
----------------------------
Here is a BAD EXAMPLE. Most* of the time this is not what you want even though it provides more symmetry. (symmetry? we don't need no stinkin' symmetry.)
1 2 & 3 4
_____ _____
4 | |-|-| |-|-| |
4 0.. 0 0 0 0 0 0 0
----------------------------
Here's another BAD EXAMPLE. The beaming doesn't help you understand the context of the written rhythm with regard to the beats of the measure. In fact for musicians who are used to seeing standard beaming this is misleading at first glance. If I encountered this I would think "hey, just a sec. what's the deal here. Oh OK, weird beaming" quickly followed by "who wrote THIS?"
1 2 & 3 4
_______ ___
4 | |-|-|-| |-| |
4 0.. 0 0 0 0 0 0 0
----------------------------
While I don't like this next one either, it's better than the two previous examples. At least it doesn't mislead you about where a new beat starts (it does "hide" beat 3 however)
1 2 & 3 4
___________
4 | |-|-|-|-|-| |
4 0.. 0 0 0 0 0 0 0
The rule(s):
** If you can't start a beamed group on the beat, then at least stop the beam at the end of the beat.
** Don't let the beam "spill over" to the next beat.
** Instead, start a new beamed group at that next beat.
Q. What about the two sixteenth notes in the middle of a quarter note beat (with a rest on the first and fourth sixteenths)?
A. You can beam those together
% = sixteenth notes rest
1 2 3 4
___ ___ ___ ___
4 |-| |-| |-| |-|
4 % 0 0 % % 0 0 % % 0 0 % % 0 0 %
Notice that in places I use two sixteenth rests in a row instead of a single eighth note rest so that I don't "hide" beats 2 3 and 4. This rhythm is tricky to sightread.
Some reggae guitar parts have this rhythm.
---------------------------------
*Rules were made to be broken
---------------------------------
One common situation where the beamed group spills to the next
beat involves eighth notes. Frequently a series of four eighth
notes will be beamed together IF they begin ON the beat.
_______
4 | | | | | |
4 0 0 0 0 0 0
If you follow the rules it would be as follows:
___ ___
4 | | | | | |
4 0 0 0 0 0 0
Either way is common.
*** Other special situations ***
Sometimes the phrasing of a series of eighths note or sixteenth
notes is such that the composer feels the standard beaming isn't
useful for displaying the musical intent. Let's say there is a
long series of 16 sixteenth notes with accents at the 1st, 4th,
7th, 10th, 13th, and 15th. Actually this a common syncopated
rhythm. If you the know the Led Zepplin tune "Rock and Roll",
the lyrics at the end of the verse (LONEly LONEly LONEly LONEly
LONE - LY time) provide an example those accents of the rhythm
(of course that isn't a series of sixteenths but the accents are
the same).
> = accent
_______ _______ _______ _______
4 |-|-|-| |-|-|-| |-|-|-| |-|-|-|
4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
> > > > > >
This rhythm is said to have a subdivision of "3 3 3 3 2 2" and
you can vocalize the rhythm by saying the following number sequence
with the "1's" loud and the other numbers soft. Repeat until
in a trance.
1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2
> > > > > >
Some composers might beam it as shown below. (I wouldn't, ...many
wouldn't, but we'll just frown and accept it)
_____ _____ _____ _____ ___ ___
4 |-|-| |-|-| |-|-| |-|-| |-| |-|
4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
> > > > > >
I understand the purpose of this type of beaming but I would prefer
standard beaming with accent markings and phrase markings (not shown
here, it doesn't work well in text form).
----------------------------------------------------------------------------
>Question 1: I was wondering if you had an answer key for the Beaming
>worksheet. I wanted to make sure that I was getting it right.
It has completely slipped my mind that you don't have a key to the
Beaming worksheet. I made one up in the correct format and it is at:
Answer Key for Beaming worksheet
>Question 2: Is it appropriate to use beaming in combination with a tie
>when you have a dotted note? For example, take the following measure:
> _ _ _
>4 | | | | |
>4 0. 0 0 0 0
>
>(dotted quarter note, 3 eighth notes, one quarter note)
>
>You could rewrite this using beaming as follows:
> _ ____
>4 | | | | |
>4 0. 0 0 0 0
Perfectly done.
>
>What about the following?
> ___ ____
>4 | | | | | |
>4 0 0 0 0 0 0
> ----
This is perfectly fine also. Many books would show the two side by side
to demonstrate how the "tie" and/or "dot" works. It is a matter of
preference as to which one you want to use.
>
>Here the four minus signs below the first quarter and first eighth notes
>are supposed to represent a tie.
>
>Is that "legal?" If so, would it be considered unusual or misleading
>style?
It's still completely legal throughout the free world ;-)
Both versions are used frequently, and both are considered the correct
notation of the rhythm.