14 thinking down in thirds
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Some theoryTRANSCRIPT
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 1
12.03.2012 Chapter 14
Chord Substitutions—Thinking in Thirds
• 13 pages
• 35 examples
Do you want to go beyond what is in the chorusbook, hymnbook, or Internet? Then thischapter is for you! We'll learn to "think in music" by thinking down thirds. Our intentionis to freshen expression and "go outside of the box."
We'll explore chord substitutions that move up or down in thirds. These substitutionswill add smoothness, warmth, and richness to your songs.
OUTLINE REPERTOIREDescending Third Substitutions Great is Thy FaithfulnessSubstitute a Descending Third Holy, Holy, HolyAscending Third Substitutions Jesus Draw Me CloseThinking Down Several Thirds Come Thou FountDeveloping Good Continuation Cry of My HeartA Series of Descending Thirds Refiner's FireWalking the Bass Down Emmanuel
Angels We Have Heard on HighBe Thou My Vision
Descending Third Substitutions
A typical chord substitution is the third relationship—substituting the given chord withone a third higher or lower. For instance, a C chord could be substituted with an A minorchord (a descending third relation) or with an E minor chord (an ascending third relation).
Descending third relations. The example below demonstrates substitutions a thirdbelow—descending third relations are more frequent than ascending ones. We're in thekey of C. Focus on the common tones, the solid (filled in) note heads.
Example 14.1 Common Tones (solid note heads) in Third Relation Chords
How many common tones are there? There are two in each measure. In measure one thecommon tones are C and E: in measure two, F and A; in measure three, A and C. Thismeans that if you have a melody with the notes G or E (like m. 1 above), the chords C or
C
I
mA
vi
F
IV
mD
ii
mA
vi
F
IV
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 2
A minor could likely be interchanged. The same applies to measures two and three. Inother words, the idea can be extended to different scale degrees.
Below, the first measure of Holy Holy Holy uses a C chord (I), whereas the next twovariations substitute (SUB) an A minor chord (vi).
Example 14.2 I Substituted with a vi
Notice (m.5), it's possible even to begin the phrase with a vi chord.
Opportunities for using third relations are usually available. Below, an F chord (IV) inthe second half of the opening phrase of Holy Holy Holy is substituted with a D minorseventh chord (ii7).
Example 14.3 IV Substituted with a ii
Minor sevenths project a warm feeling useful in expressing intimate words like "love,""adore," "Father." Below, an A minor, D minor, and F minor seventh is now included.
Example 14.4 Common Tones (solid note heads)
C
Ho-ly, h o - l y ,
I
G C
ho - ly
V I
C mA
SUB
I vi
G C
V I
mA
SUB
vi
G C
V I
C
I
7mA
vi7
F
IV
7mD
ii7
mA
vi
7maF
IV7
SUBOriginal
F GF
I IV
C
I
7mD GF
ii7 V
C
I
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 3
How many common tones do you see this time? Yes, three solid note heads instead ofthe two above. When you use a seventh chord (or any chord extensions) you are creatingmore chord substitution opportunities. Let's add a seventh to the Am chords this time.But one more point first.
Incredibly easy! When you substitute a vi for a I or a ii for a IV chord on a keyboard,your task is incredibly easy—hold onto the notes in your right hand and lower the bassnote a third. It's that easy. Let's us show you what we mean.
Example 14.5 Great is Thy Faithfulness
Note the vi7 substitution in measure three, beat three. The right hand chord stays thesame, only the left hand changes. That makes it easy!
We call the chord in measure two (above) a Dm/F because the E in the melody acts as astruck 7-6 suspension. More precisely, the Roman numeral would be a two-six.Alternatively, we could think of it as an F major seventh. Let's look at another example.
Example 14.6 Seventh Chord in a Substitution
Observe, again, the chord quality in the right hand does not change in measure three andsix when substituting a vi for a I. Note, the Am7 projects a softer, more tender feeling.
Original
C
I
G C
V I
C 7mA
SUB
I vi7
G C
V I
C
I
7mA
SUB
vi7
ReharmonizationOriginalC
Great is thy
I
FmD
faith - fu l -ness
ii
C 7mA
Great is thy
I vi7
FmD
faith - ful -ness
ii
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 4
Substitute a Descending Third
Cross out some of the chord symbols below, and write a new bass part with descendingthird substitutions. Redo the chord symbols and indicate the Roman numerals. Use taste.Strive for an impacting result.
Example 14.7 Jesus Draw Me Close
Example 14.8 Cry of My Heart
Example 14.9 Refiner's Fire
E A
Re -fin-er's fire:
B E A
my heart'sonede-sire
B E
is to be
B
ho-ly
D G
It is the cry of my heart
A G
to fol - low You.
D G
It is the cry of my heart
A G D
to be close to You.
F C
Je - sus draw meclose,
7mD B F
clos - e r , L o r d to You
C
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 5
Ascending Third Substitutions
A I chord in the key of C major can be substituted with a iii, a ii chord with a IV, and aIV with a vi, or a vi with a I chord. The solid notes below indicate common tones.
Example 14.10 Ascending Third Relations (common tones)
Below an Em7 is substituted for a C chord (m.2).
Example 14.11 Substitutions Using Scale Degree Three (Holy Holy Holy)
Notice, the presence of the seventh (m.2, beat 1) warms up the sound.Three exercises. Revise the three examples (below) substituting ascending third relations.Cross out the pop symbols (as needed) and provide your substitutes. Write the bass lineand indicate the Roman numerals.
Example 14.12 Lamb of God
C
I
mE
iii
mD
ii
F
IV
F
IV
mA
vi
mA
vi
C
I
SUB
C
I
7mE
iii7
7maF GF C
C
O Lambof
F GF
God, sweet Lamb of
C
God, I lovethe
F
ho - ly Lambof
G
God!
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 6
Example 14.13 Doxology
Example 14.14 Come Thou Fount
General Principle. As extensions (7ths, 9ths) are added to chords, more common tonesexist and thus more chord substitution possibilities.
Importance. Why are these third relation options so important? It's one way to preventharmonic boredom and/or accent the text. For instance, the tune of the first four measuresof Holy Holy Holy is repeated at measure nine (as below). Therefore we might want tovary measure nine harmonically in order to express more clearly the meaning of thewords, or to introduce a new nuance of feeling.Example 14.15 Phrase Repeated at Measure Nine
In the example below we're jumping to measure seven of Holy Holy Holy. Whereas thehymnbook version harmonized measure nine (above) with a C chord, measure nine(below) is reharmonized with a third relation Am chord (vi), which then passes throughthe F chord (IV) on the way to a ii chord. A minor, F major, and D minor are all thirdrelations.
1 2 3 9 10 11
ETC.
C
Ho-ly, ho-ly,Ho-ly, ho-ly,
ho-ly!ho-ly!
F
LordAl l
C
Ho-ly, ho - l y ,Cher-u-bim and
ho - ly!ser-a-phim
mer -fa l l -
G
Praise
G
God from whom all
C D G
bless - ings flow; praise
D A
Comethou
D
fount of ev-ery
A D
bless-ing, tunemy
D AD
heart to sing thy
D
praise.
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 7
Example 14.16
Notice that measure three begins with a third relation substitute (Am is substituted for Cmajor), but then the chords descend by thirds (F, and then Dm9). The use of a series ofdescending thirds harmonically is our next idea.
Thinking Down Several Thirds
So far we have stressed substitutions up or down one third, that is, substituting a C chordwith an A minor chord or an E minor Chord. Now we'll extend that concept by includingsubstitutions down a series of thirds to an F chord and a D minor chord. Visually theconcept looks like this. The first measure below represents what we've been focusing on,the second the new extension.
Example 14.17 Thirds Down from C Major (A minor, F major, D minor)
Example 14.18 Series of Descending Thirds for Scale Degrees 1-5
The descending thirds chords could be simple triads or possess the seventh (as below).
7 8 9 10
earth and sky and sea;
mA F 9mD
On - ly Thou art
vi IV ii9
EC
ho - ly
Vocals
C 7mA F 7mD mD 7øB 7G 7mE mE 7maC 7mA 7maF F 7mD 7øB GF G 7mE 7maC 7mA
I vi IV ii I vi IV ii
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 8
Let's use descending thirds in the hymn, Holy, Holy, Holy.
Example 14.19 F Chord Substituted for C major
You won't find the above subsittutions (Am, F, and Dm7) in the hymnbook. But theycould be effective for the second or third stanza, or in the middle of the hymn where themelody repeats (m.9), as below. Think up something appropriate after the substitution.
Example 14.20 Dm7 Substituted for C major
Example 14.21 Thirds Down from C2 and C2Q
7 8 9 10
earth and sky and sea;
7mD 9mD
On - ly Thou art
ii7 ii9
EC
ho - ly
2C Q2C
C
I
7mA
vi7
F
IV
7mD
ii7
Descending thirds also work withAdded seconds and quartalchords.
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 9
Example 14.22 Quartals with Descending Thirds (Emmanuel)
The first chord in each excerpt descends in thirds (C, A, F, D respectively). The quartalchord remains fixed the right hands.
Some harmonic adjustments were made after the first chord in each case. When youchange one chord, then for consistency's sake you often need to change another. Whichalternative do you like best? The C2Q/A is attractive, isn't it.
A I chord is typically used for the last phrase of Be Thou My Vision on the word"waking." The G and Em chords create melodic extensions harmonically (9th, 11th).
Example 14.23 Extensions Resulting from Change in Bass
In the exercises below you'll substitute a vi, IV, and a ii chord for the I chord.
Q2C
E - man - u - el
AQ2C
E - man - u - el
FQ2C
E - man - u - el
DQ2C
E - man - u - el
(Hymnbook) (Down a 7th)(Down a 5th)(Down a 3rd)
1
D
3 5Wak - ing or
I
mB
5 7Wak - ing or
3
vi
5
G
7 9Wak - i n g or
IV
7
mE
9 11Wak - ing or
ii
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 10
Developing Good Continuation
Your challenge is to continue the chord changes in a craftsmanship-like way to the end ofthe line. Use no more than one chord change per measure. Indicate the pop symbols, theRoman numerals, and write the bass part.
Example 14.24 Try it! B minor Substituted for D major
Example 14.25 Try it! G major Substituted for D major
Example 14.26 Try it! Em7 Substituted for D major
For the exercises above a D2 or D2Q could have substituted for the D major triad.
Example 14.27 Jesus Paid It All
Below, your task is to provide good continuation. The bass, in the harmonic variations oflines 2, 3, and 4 of measure two, descends in thirds to B, G, and E. Provide a secureharmonic progression that links measure two to measure four. Write the bass notes andfurnish Pop symbols. Play your result in order to test its effectiveness.
G
7mE
mB
Wak - ing or sleep - ing, Thy pres - ence my light.
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 11
Here are some chord spacings for measure two (above) to help create some atmosphere.
Example 14.28 Ways to Space Your Chord Substitutions
You'll get a nice effect if you roll the tenths in the bass so that the tenth (3rd of chord)sounds flush with the right hand (as in m.5). Apply the pedal at the onset of the lowestnote.
A Series of Descending Thirds
Example 14.29 Model of Descending Thirds (Be Thou My Vision)
Etc.
D
Be Thoumy
I
mB
vis-ion
vi
7majG
OLordof
IVmaj7
9mE
life.
iim9
Naught be all else to me
Vocals
1
2
3
4
D
Je - sus paid it
D
D
D
D
all,
mB
7maG
7mE
D
All to him I
A
owe
A
A
A
Je - sus paid it
mB
all
vi
9maG
all
IV
11mE
all
ii
11mE
all
ii
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 12
Do some tweaking, and create a series of thirds for the melodies below. Indicate the Popsymbols, the Roman numerals, and write the bass notes.
Example 14.30 Descending Thirds (Be Thou My Vision)
Example 14.31 Descending Thirds (Great is Thy Faithfulness)
Walking the Bass Down
The bass can walk down the scale and fill in the space between the third relationships.
Example 14.32 Stepwise Movement Down the Scale (Be Thou My Vision)
Wak - ing or sleep - ing Thy pres - ence my light.
Great is Thy faith - ful -ness O God my fa - ther
D
Be thou my
7mB
Vis - ion O
7majG
Lord of my
9mE
heart.
©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 13
Example 14.33 Chord Reinforcement of the Stepwise Movement
Now it is your turn. Do something similar with the examples below.
Example 14.34 Great is Thy Faithfulness
Example 14.35 Come Thou Fount
Thought. When we improvise in public we reveal what we have mastered in private.Ideally we should be able to render every phrase a dozen different ways. This implies adeep need in our part to discover what is possible.
D C2A
Be thou my
7mB AmB
Vis - ion O
7majG 7mF
Lord of my
11mE
heart.
Great is Thy faith - ful - ness O God my fath - er
Come Thou fount of ev - ry bless - ing