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Saturday, September 3, 2011
Master The Essential Guitar Chord Progressions
Chords play a huge part on the guitar. So the next essential step is to starting putting chords together to build chord progressions. While it's possible to string any chords together, there are standard progressions that already exist and have proven to sound good. Many of these essential guitar chord progressions have been used time and time again to make some of the most successful songs in the history of music. I'd like to take some time to go over some of these standard progressions.
Guitar chord progressions are like baby brothers – you cannot escape from them and they take some explaining. Let us do some analysis on the term “guitar chord progressions”. In case you did not know, any time two or more notes are played, this is referred to as a “chord”. You probably know that certain guitar chords sound good together. These are called guitar chord “families”. Guitar chord “progressions” are certain sequences of chords that sound so good together that they are used as the musical basis of songs.
Chord progressions are derived from musical scales like C D E F G A B C. This is the C major scale which is used very often in music. It is just a sequence of notes with no sharps or flats which makes it easy to use to teach music students the principles of music. When we study chord progressions we think of these letters as chords instead of single notes. If we number the chords from one to seven we can work in a practical way with the chords in any key because the basic principles are the same.
If we write out the chords as numbers we have the problem of getting the numbers denoting the chords confused with numbers that are used in the names of the chords. If we are working with the chord B7 we do not want to have to stop and think what “77″ means so we use Roman numerals to number the chords. That way B7 is named VII7. To a newbie that might still be confusing but it is a good way of fixing the problem.
So, now the chords are named I II III IV V VI VII. To save us from getting too bogged down in musical theory, let us take some simple ideas for granted. First, in any key the chord that the key is named after is always the I chord. So now you can go back and look at the notes in the C major scale and check out the new names of all the notes. Not that it will mean much yet.
Another thing we are going to take for granted is that I IV and V are the three most important chords in the scale. When you learn a song or instrumental piece, the chances are that you will be starting the song with the I chord and when you end the song, the chord you finish on is also the I chord. There are exceptions but there is no need to go looking for them. So we can take that fact for granted.
That is all the basic theory we need to learn guitar chord progressions without blundering around like an elephant in an outhouse. There is more you could learn but we are more concerned with playing the chords than explaining them. Now we can take a look at the some chord progressions. The most common progression you will come across as a guitar player is I IV V. You will find these chords referred to in music theory as “tonic” “subdominant” and “dominant”.
You have probably heard that pop musicians only know three chords. This may or may not be true but they do mostly work with one chord progression consisting of three chords. The main variations come when for effect the composer or interpreter of a song might use the V7 or IV7 chords.
This chord progression is the basis of almost all pop, blues and rock songs. Many songwriters have made departures from this basic progression and jazz musicians have long ago abandoned sticking to this, or any basic form.
So there you have your basic chord progression for modern popular music. Other progressions that you could benefit from experimenting with are: I IV I V, I IV V IV, I V VI IV, I V IV V, I VI II V and I VI IV V.
There are a lot of different chord progressions out there to learn, but I thought it would be good to start with some of the basics in case you haven't worked them out. Keep in mind that even though these examples are in the key of C, they can be transposed to any key with a little bit of work. Find them here at http://www.learn-acoustic-guitar.com/20-chord-progressions-in-the-key-of-c-major.
Here are 20 chord progressions in the key of C Major. This is going to be great practice for you beginners and help you with some of those tricky chord changes.
These are all fairly easy beginner guitar chords that you should already be familiar with. If not, I provided links to lessons on how to play each of these guitar chords within the lesson below.
With these chords in your arsenal, you will be able to play a ton of great songs on guitar.
You will notice under each chord, there are a series of up and down arrows. These arrows represent the strumming pattern. A down arrow means a downward strum and an up arrow is an upward strum.
I hope you enjoy this lesson. Make certain that you are not rushing through these chord progressions. Go very slowly until you are able to switch between chords perfectly without error. You can then begin to increase your speed.
Chord Progression 1
The chords you will need to know for this chord progression are: D Minor, G Major, C Major and A Minor.
Chord Progression 2
The chords you will need to know for this chord progression are: C Major, F Major, G Major, and C Major.
Chord Progression 3
The chords you will need to know for this chord progression are: C Major, E Minor, F Major and G Major.
Chord Progression 4
The chords you will need to know for this chord progression are: C Major, E Minor, F Major and C Major.
Chord Progression 5
The chords you will need to know for this chord progression are: C Major, E Minor 7 , D Minor and G7.
Chord Progression 6
The chords you will need to know for this chord progression are: Em7, A Minor, G Major and C Major.
Chord Progression 7
The chords you will need to know for this chord progression are: C Major, D Minor , G Major and C Major.
Chord Progression 8
The chords you will need to know for this chord progression are: C Major, D Minor , E Minor and A Minor.
Chord Progression 9
The chords you will need to know for this chord progression are: C Major, A Minor , F Major and G Major.
Chord progression with capo
Chord Progression 10
The chords you will need to know for this chord progression are: C Major, A Minor , D Minor and G Major.
Chord Progression 11
The chords you will need to know for this chord progression are: A Minor ,F Major , G Major and A Minor.
Chord Progression 12
The chords you will need to know for this chord progression are: Am7, Em7, G Major and C Major.
Chord Progression 13
The chords you will need to know for this chord progression are:E Minor, Am, G Major and Am.
Chord Progression 14
The chords you will need to know for this chord progression are: F Major , C Major, E Minor and A Minor.
Chord Progression 15
The chords you will need to know for this chord progression are: A Minor, Dm7, G Major and C Major .
Chord Progression 16
The chords you will need to know for this chord progression are: Dm7, C Major, G Major and C Major.
Chord Progression 17
The chords you will need to know for this chord progression are: F Major 7, C Major 7, G Major and A Minor.
Chord Progression 18
The chords you will need to know for this chord progression are: C Major, A Minor, D Minor 7 and G7 .
Chord Progression 19
The chords you will need to know for this chord progression are: A Minor, D Minor, Em and A Minor .
Chord Progression 20
The chords you will need to know for this chord progression are: C Major, D Minor, G7 and C Major.
Chord progression high on the
fretboard
Now one of the most popular chord progressions in music is the I-IV-V progression. You will encounter this progression in all sorts of music, so I feel the need to expand on it. Check out this article at http://www.instantguitarist.com/blog/the-i-iv-v-chord-progression.
Songwriting is all about choosing the right chords to make your song sound just the way you want it. But you might be surprised to learn that choosing chords at random is not the best way to make a tune sound good. There are standard and not so standard chord progressions that you can use as you write a song and harmonize it.
The single most common chord progression you can learn is the I, IV, V progression. You can hear this progression all over the place in songs of just about any style.
So, what is the I, IV, V progression?
In any key there are a series of different chords that you can create. We often refer to these chords by the note of the scale they are based on. For example, in the key of C, we have the notes C D E F G A and B. The chord that starts with C is called the root chord or the (Roman numeral) I chord since it’s the first note of the scale.
The B chord, is called the II chord since it’s based on the second note of the scale, and so on.
So, in the key of C, the I, IV, V progression refers to the chords C, F and G. Play through these chords in sequence on your guitar so you can get a sense of how it sounds.
Why does this progression sound so good?
Well, first of all, they’re all major chords. If you played a B chord in the key of C, it would be a diminished chord (the D and F are natural in the key of C). In the same way, the II and VI chords (D and A in this example) are minor in the key of C.
Secondly, the V chord in any key naturally resolves very well back to the root chord. Play a G chord and then a C chord. Can you hear how it just seems to sound “complete” as if the song or passage is done? Try that with the II and VII chords if you like. Not quite as musically satisfying, is it?
You get an even more complete sound by playing the V chord as a 7th chord. Try replacing the G chord in our example with a G7 chord. So you get C, F, G7, C.
You can translate this progression into any key keeping the numbered chords in mind. For example, in the key of G your I, IV, V progression would be G, C, D or D7 and back to G.
Try playing around with these chords and experiment to see which progressions you like the best.
The I-IV-V chord movement goes back past the very earliest days of rock ’n’ roll, right through to the blues. It’s the foundation upon which the very history of rock was built, and yet it’s so iconic, so intricately woven into the fabric of music that it can be tempting to see it as merely another element of the idiom, like alternating the kick and snare drum or playing a steady 8th-note rhythm on the bass. But a well-placed I-IV-V can be so much more.
To talk theory for a moment, the common I-IV-V movement involves the first, fourth and fifth chords of the major scale. If you’re playing in the key of E, the chords are E, A and B. If you’re in A, they’re A, D and E. If you’re in The Rolling Stones-approved key of G, it’s G, C, D. The beauty of it is that once your ears have identified the presence of the pattern, you simply need to find the pitch of the first chord and you’ve figured out the riff or, often, the entire song.
Although the progression is commonly heard as the underlying harmony of the 12-bar blues, if you tune your ears to listen for it you’ll hear it in many, many other contexts.
Let’s look at a few:
Ritchie Valens – “La Bamba”
This Mexican folk song was adapted into an early rock ’n’ roll hit by Ritchie Valens in 1958. You can hear the I-IV-V movement under the vocals, but you might have to squint your ears a little to hear it in between the weaving bass line.
The Troggs – “Wild Thing”
Staying with the early days of rock for a moment, “Wild Thing” is a perfect example of the I-IV-V being used in a more rowdy, unrefined way (like its spiritual cousins “Louie Louie” and “Twist and Shout”). “Wild Thing” is also one of the few songs that many non-guitarists can play as their party trick. It’s simple, it’s fun and because of the song’s cyclical nature, you don’t need to ever really stop!
Led Zeppelin – “Rock and Roll”
The classic jam song – almost every garage band has blustered their way through this legendary Led Zep track at least once, and it’s a perennial encore jam song for top-tier superstars. Even Van Halen have been known to throw this one into their set. The studio version includes some heavy guitar layering, but to get right to the heart of the song's I-IV-V goodness, check out the live version of “Rock and Roll” from The Song Remains the Same.
Gary Moore – “Walking By Myself”
The late, great Moore updated the blues-based, boogie-woogie variant of the I-IV-V with a raunchy, distorted Les Paul, but the song structure itself is quite traditional – no great surprise since it was written by bluesman Jimmy Rogers in the mid-’50s. Although known primarily for his fiery blues playing, Moore also had quite a few hard rock/heavy metal albums under his belt, and his approach to “Walking By Myself” on the One Night in Dublin DVD is a deft blend of the two styles.
Whitesnake – “Here I Go Again”
This ’80s FM radio classic is actually a reworking of an older Whitesnake song, but both versions of “Here I Go Again” rely heavily on the good old I-IV-V in the chorus. The less-frequently heard original 1982 version is much more upfront about its bluesier inspirations, and it features a beautiful harmony guitar solo by Bernie Marsden and Micky Moody (while the 1987 version features John Sykes and Adrian Vandenberg).
U2 – “I Still Haven't Found What I’m Looking For”
U2 switch things up a bit with their approach to the I-IV-V in “I Still Haven’t Found What I’m Looking For.” The verse actually hinges on a I-IV-I progression, building tension until reaching for the V at the top of the chorus. The I-IV-V pattern is actually reversed in the chorus of this song: the chords are V-IV-I rather than the other way around.
Roxette – “Dressed for Success”
Augmented by a healthy splash of 12-string guitar and a big, of-its-time drum sound, the chorus of this 1988 hit is largely based on the I-IV-V, but it gets sneaky in each second bar by substituting the I for a II (that is, instead of F, Bb, C, Bb the chords are Gm, Bb, C, Bb. This song is a great crash course in teaching your ear to identify the pattern, then immediately teaching it how to recognize when a substitution is made.
Counting Crows – “Mr. Jones”
“Mr. Jones” is somewhat deceptive in its use of the I-IV-V progression because the intro/verse riff throws the listener off the scent. It’s not until the chorus, with its driving-yet-ringing C-F-G progression, that you’ll hear it, and even then it’s somewhat disguised because the focus is on the vocal melody rather than the rest of the band.
The Ting Tings – “That’s Not My Name”
“That’s Not My Name” is another song that distracts you from its I-IV-V construction because of its colorful instrumentation and a dominating vocal melody – these things are usually much easier to spot when they’re presented as a standalone riff. In the case of “That’s Not My Name,” the V chord is used briefly in the form of a short, half-bar turnaround at the end of the chorus. Proof of how well the song works when stripped of its instrumentation can be found in this acoustic version from MTV Sessions.
The White Stripes – “Hotel Yorba”
For a band so steeped in rock history, The White Stripes sure could have written a lot more I-IV-V songs than they did. One especially notable example is “Hotel Yorba,” which features a straightforward, driving rhythm and a ringing, jangly acoustic guitar playing a meat-and-potatoes I-IV-V progression.
So let's take a look at some examples of chord progressions from a little band named the Red Hot Chili Peppers. Okay, so maybe the band is pretty big and that's a great way to see how guitar chord progressions can be formed. Find this behind-the-scenes look at http://www.guitarworld.com/john-frusciante-lesson-how-play-chili-pepper-part-1.
Josh Klinghoffer may be handling guitar duties in the Red Hot Chili Peppers these days, but for that signature Red Hot Chili Peppers sound, there's still no better reference than John Frusciante. In this classic interview/lesson with the ex-Pepper, Frusciante opens up and shares the secrets of his signature sound, including the essential chords, licks and techniques you need to know in order to play like a Pepper!
What might you play to kick off an improv jam with Flea and Chad?
Well, it could be anything. A lot of times it's a chord progression [Fig. 1], or just some groove. Around the time we were writing By the Way, I'd always be coming in with chord progressions like that-ones that have a real open, "human" sound to them. Something like that might end up being a section to a song. But sometimes those things don't go anywhere; they just go into the air. And I never remember anything, unless it's a thing I've justbeen doing. So I use a tape recorder a lot to record ideas.
What kinds of foundation do players need to get under their belts in order to improvise rhythm parts well?
To me, I think it's important, if you're in any given mode, to see the whole neck as one thing. The important thing is not the scale pattern; it's that those are the notes you could be playing at any given time. It's also important to remember the notes that aren't proper also have a place-whether it's passing notes, grace notes, or just this dissonant 12-tone thing. Once you see it that way, playing chords makes a lot more sense.
Guitar chord progression on stage
It definitely starts with understanding things like 7th, 9th, and 11th chordschords with a lot of numbers behind them. And it's important to recognize that, much of the time, a chord with five or six [different] notes in it won't make sense when you hear it by itself. That was my mistake growing up, because the only chord book I had was Ted Greene's Chord Chemistry. I would hear all these freaky chords and understand, "this chord is called 'this' because it's got these intervals in it," but I didn't know how to use them in context.
So I spent a lot of time looking at sheet music, studying music by people who use those interesting chords-like Burt Bacharach, Elton John, and the Beatles. When you open up their songbooks and see they're using something besides minor and major chords, you start to see the way you can use those chords.
For instance, I saw an E7b9 chord in a Fiddler on the Roofsongbook and a Beatles song. If you play E7b9 by itself, it's kinda dissonant. But when you go from E7b9 to Am [Fig. 2], it makes a lot more sense. By seeing the similarity of the way it was used in both situations, I ended up using it that way in something myself. There are also chords that sound kinda messy when you play them by themselves [Fig. 3A]. That's like an E and D chord combined. It's good to go to a Cmaj7 [Fig. 3B] from that. I like using chords that have so many intervals in them that they become kind of a washy texture, not really something somebody would hear and know exactly what it was.
You've mentioned in interviews that you wanted to create guitar parts for By the Way that would be impossible to figure out.
Yeah, I used chord shapes like this [Fig. 4] for some things, where if I was learning it off the record I would never assume the person was doing that. I didn'twantto do things that were obvious, because I played like that on Blood Sugar and Californication.
A moment ago you stressed the importance of being able "to see the whole neck as one thing!' How would you recommend people go about learning the neck that thoroughly?
Well, I guess the first way is to practice scales and stuff, keeping in mind the important thing is not the scale pattern or how fast you can pick it but how those notes relate to each other and what intervals are being used. Some songs may contain certain bars that call for a major 6th, and with a chord change it may suddenly become a minor 6th. Or maybe something goes from a major chord to a minor chord with the same tonic [Fig. 5].
For the first chord, A Mixolydian [Fig. 6A] would fit nicely. And there's actually no 7th in the chord, so it's pretty much up for grabs; you could make it straight major if you want [Fig.6B]. And for the minor chord, I'm not playing a 6th [in the chord], so the mode is up for grabs, too [Figs. 7 A-B]. The whole point is that those chords are dictating what notes can be played over them.
This is just an introduction to chord progressions. You can experiment with your own progressions, or stick with the ones that thousands of guitarists have proven to be successful. The options are endless. Be sure to check back for more at Mike's Guitar Talk; this is the best to place for all your guitar answers.
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