• Monday, September 29th, 2008
Some notes on chord substitutions in accompanying
fiddle tunes.
Know chords by number is very useful because if you think in numbers,
and know how the numbers relate to each key, then what you learn
in one key is instantly applicable to other keys. In Nashville,
this was adopted as an easy way to deal with accompaniments and
called the "Nashville number system". But since long before that,
if you take Music Theory classes, the first thing you do master
numbers, and then refer to a chord by letter only if you're explaining
how the chord works in a specific key.
1 2 3 4 5 6 7
I II III IV V VI VII
C Major: C Dm Em F G Am Bdim
G Major: G Am Bm C D Em F#dim
D Major: D Em F#m G A Bm C#dim
A Major: A Bm C#m D E F#m G#dim
E Major: E F#m G#m A B C#m D#dim
The "theory" of what chords may follow a chord: Here are chord
sequences that cover typical harmonizations. Note that the final
judge is yourself: if it sounds good to you, it's right, if it
sounds bad, it's not. Using these sequences (and having them ingrained
in your head) can help you predict what might sound good to you.
Typical traditional chord sequences:
One-to-five
Numbers: I V
In G: G D
Five-to-one
Numbers: V I
In G: D G
(This is termed a cadence, and is the chord sequence that suggests
the end of a piece or the end of a section of a piece. Ending
with V "leaves you hanging")
Four-to-one
Numbers: IV I
In G: C G
Down a fifth:
Numbers: V I -or- VI II -or- III VI etc.
In G: D G Em Am Bm Em
Down a third:
Numbers: I VI -or- VI IV -or- IV II etc.
In G: G Em Em C C Am
Up a second:
Numbers: IV V -or- V VI etc.
In G C D D Em
Modern/popular chord sequences:
Blues:
Numbers: V IV I
In G: D C G
One-to-three: (first two chords of Puff The Magic Dragon)
Numbers: I III
In G: G Bm
Descending chords in minor keys:
Numbers: I VII VI V
In A minor: Am G F Em -or- Am G F E
Chord substitutions:
Most common is down a third or up a third, i.e.
Use VI instead of I (for example, in G major, using Em instead of G)
Others:
Down a fifth (e.g. IV instead of I)
Up a third (e.g. III instead of I)
Up a fifth (e.g. V instead of I)
Other:
Using Vsus4 chord instead of I or V
Using V instead of I at the end of a part
(When you use V or Vsus4 instead of I at the end of a part,
and then the next part starts with I, then you have rearranged
the cadence so that the chords "flow" (resolve) into the next part.
This is very commonly used in contradance accompaniment,
making each part lead into the next)
Some of the easiest tunes to modify the chords on are the tunes
that have a chord that lasts for lots of beats, i.e. the chord stays
the same. For example, if the tune stays on I for a long time,
moving down a third or down a fifth can give it some variety.
There are some longer chord sequences, that fit with a whole part
(16 beats) or half a part (8 beats) are very commonly used. Our
ear is used to these sequences, so even if they don't quite "fit"
with the melody notes, your mind senses the familiarity of chord
sequence and "makes" them fit. This is especially true of notey
tunes like fiddle tunes: there's probably some notes going on in
the tune that fit the chords. (This latter is a reason so many
different chord sequences fit the same tune.) If the sequence
doesn't quite fit a melody, it can often be tweaked to do so,
with chord substitutions (e.g. Vsus4 for V) or by changing
the rhythm.
Accompanists who vary the chords typically think in terms of
sequences of four or eight beats, and to some extent, can hear
in their mind if a particular sequence might sound good with
a particular part of a tune. This skill comes with practice and
repetition as your mind "files away" the sounds of the chord
sequences.
Common sequences:
Ascending chords, four beats per chord:
I I I I II II II II III III III III IV IV IV IV
A typical continuation:
V V V V VI VI VI VI Vsus4 Vsus4 Vsus4 Vsus4 V V V V
A variation on ascending chords, to make the sequence lead to V:
I I I I II II II II III III III III IV IV V V
A typical continuation:
VI VI VI VI V V V V IV IV IV IV V V V V
Ascending chords, two beats per chord:
I I II II III III IV IV
"Heart and soul" chords:
I I VI VI IV IV V V
"Heart and soul" chords, four beats per chord:
I I I I VI VI VI VI IV IV IV IV V V V V
Up three:
I I I I III III III III IV IV IV IV V V V V
or ("Puff"):
I I I I III III III III IV IV IV IV I I I I
"Universal" accompaniment: (over 7 means low note is 7th note of the scale)
I V(over 7) IV(over 6) V IV I(over 3) II V
I V(over 7) IV(over 6) V IV II V I
Another version:
I I(over 7) VI V IV III II V
I I(over 7) VI V IV II V I
(This 2nd version is like the first, but with some rather typical
chord substitutions)
Category: Workshops
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