In the creation or editing of popular-music MIDI files, familiarity with the structure and names of chords is of considerable importance. Harmonies consisting of prosaic chords are likely to produce a commonplace musical arrangement, devoid of originality or excitement.

Any musician worthy of that name is acquainted with key signatures, and can play a major scale, as illustrated in Table 1. This exercise is one of the first burdens imposed on reluctant students by long-suffering music teachers. Somewhat later, the teacher may introduce a few basic chords, such as those listed in Table 2.

Thus, the beginner soon learns that a minor chord lowers the third tone, and that a minor-7th flats the third and the 7th. And so on. Hopefully, before the novice gets discouraged and abandons the whole endeavor, he or she has learned to play at least six basic chords in a given key (as shown in Figure 1). Maybe we have a prodigy, who has also mastered the chord names.

Figure 2 shows a few substitute chords that, when used properly, can enrich the harmonies in a sequence.
 

Many of the ideas for embellishing chords derive from the well-known “Wheel of Harmony” or, as it is sometimes called, the “Circle of Fifths” (Figure 3). This familiar diagram gets its name because each chord is related to a perfect fifth below. My preference is to think of it as a circle of fourths, since each chord leads to the fourth step above (clockwise). G7 leads to C; C7 leads to F; F7 leads to Bb; Bb7 leads to Eb, etc. Jerome Kern's All the Things You Are is a classic example of this pattern. Published in the key of Ab, the succession of chords is Fm7, Bbm7, Ebm7, Ab, Db...

As one prepares to record or edit a sequence, there are abundant opportunities for harmonic variety by referring to Figures 2 and 3. In Figure 3, the chord directly opposite is a substitute chord. Suppose the tune calls for a D7. Substitute an Ab chord. The Ab13 shown in Figure 2 will do nicely. Need a substitute for an Eb7? Try the A13 in Figure 2.

Next, consider what are called passing chords. The operative idea here is enroute. What the French call en passant.

Here you are, for example, plodding along, trying to resolve your meandering song into the key of Ab major. The traditional route: Fm7, Bbm7, Eb7, and thence to the target: Ab major. [Refer to Figure 3.]

Now, behold a pattern of passing chords: Fm7, Bbm7, and (Are you ready?) Em7, A7, and thence to the target: Ab major. Did you recognize the pattern?

1. The resolution is Ab major.
2. Eb7 leads to Ab major.
3. But, on our faithful circle (Fig. 3), A7 is a substitute for Eb7.
4. And, on our faithful circle, E7 is a passing chord to A major.

Extrapolating, what would the corresponding relief chords be for a D7? Answer: Cm7 and Am7.

Thus far, we've mentioned three ingenious (albeit familiar) ways to improve chordal harmony: substitute chords, passing chords, and relief chords. As any competent musician will attest, there are a lot more such shenanigans. Like playing, as quarter-notes, C9, C#9, C9, B9--instead of holding C9 for four beats. Or producing a “sad” chord from a 9th chord by raising (or lowering) the 9th note one-half step. But explicating all these mysteries is the province of the teacher of music. Our task, now, is to see how all this is accomplished in sequencing. If you want to interject a change in chordal harmony, if you want to record a more elaborate chord in the sequence, how do you go about this?

Real-time playing. Let's borrow an illustration from Messrs. Rogers and Hart, specifically their venerable song Lover, copyright 1933. Normally, this standard is played as a waltz. In its original key of C-major, the melody wanders down chromatically with a chord progression as follows: C, B7, Bb7, A7, Ab7, etc. Give it a new texture. Play it in 4/4 time, and use these chords for each measure: C9, B9, Bb9, A9, etc.

Now, if you're really audacious, try something more unorthodox. Into each measure, as half-notes, play Tea For Two (sort of). Measure 1 = Gm7, C7. Measure 2 = Gbm7, B7. Measure 3 = Fm7, Bb7. Measure 4 = Em7, A7, etc. What you are doing is creating harmonic variation by alternating minor-sevenths and sevenths. In the process, you're enhancing a MIDI recording--in real-time.

The Score Window is a convenient venue to juggle harmonic structures, as well as study just what makes extraordinary musical composition. Whether it be a Bach toccata that one is analyzing, or a Shearing arrangement using block chords, this display can teach effectively, as well as provide a palette for experimentation.

Before you commence your tweaking of harmony, please do not neglect to assign a key signature to the key you've chosen. Otherwise, you will see a distracting amount of accidental notation.

While looking at the score display (maximized to show treble and bass clefs), try some enhancement. Record, in the treble, a G-minor chord [G-Bb-D]. Normally, this would call for a G-octave bass note. For the sake of mischief, play, instead, an E-octave bass. New sound. Now, record an F-minor chord. For mischief's sake, play an octave Bb in the left hand. Try dropping these bass notes down another octave. New sound. Experiment with those lush chords shown in Figure 2. Play them in different inversions.

You may well liken this procedure to building the pyramids stone-by-stone, but anyone with the patience to try it should get the feel of how a magical gadget (the sequencer) can induce improvement in harmonic patterns. Moreover, all of these innovations can be manipulated and studied in various displays, if the sequencer windows are available, such as an animated keyboard or a guitar graphic.

There are various options and tools for creating or editing elaborate (embellished) harmonies. The chord can be a direct input from your keyboard or guitar. Virtual pencils and erasers are in the toolbox for the revision of musical passages. “Undo” stands patiently by, awaiting the blunders we sometimes commit. The days of composing, arranging, and changing harmonies by means of a quill pen, India ink, and manuscript paper--these days may be ebbing.

In this cursory discussion of harmony, something more should be said about learning from the masters. If you import into your sequencer a brilliant performance of the music of Moussorgsky, Ravel, Mozart, Gershwin, etc., the score window and other displays provide a golden opportunity to study harmonic technique. The MIDI recording might be a piano prelude on one track or an instrumental arrangement on multiple tracks. Again, classical, popular, ethnic--any kind of good music.

Before leaving this discussion of harmonic variation, we should mention three progressions well known to musicians who play popular music: introductions, tags, and fills.

The first is the introduction to a song (normally 4 or 8 bars preceding the chorus), which communicates the key and rhythmic pattern. Music education teaches many variations from the simple C-major, Am, Dm, G7 (the “Blue Moon” variation) to more elaborate changes.

A second timeworn move is the tag chord, used to extend the ending of a tune. [Rule: Find the 6th tone of your key, and play the 7th chord on this note.] Thus, in C-major, the tag chord is A7, or a substitute therefore. As explained earlier, your imagination will decree experimentation, such as using a Gm7 to slide to an A7.

Finally, there is the fill. This is a tough word to define succinctly, but anyone who has played rock, jazz, or country knows its characteristics. A couple of measures to “vamp `til ready.” A pause in the melody, consisting of a chord progression or a drum riff. An instant of panic, when the vocalist doesn't come in on the beat! Anyway, in creating an arrangement, one can interject an ingenious fill--or change it if it falls short of expectations.
 

The opportunities for strengthening harmony are bountiful. Using chords for a pickup, instead of single notes. Reinforcing accompaniment chords to attain a solid foundation. Well, the rest is trial and error, hopefully eventuating in that sweet, mellifluous harmony.

Copyright © 1995 Eugene A. Confrey, PhD. All rights reserved.